HARMONIC GEOMETRY AND TONAL MAGNETISM
(Originally Published on facebook in June 2015)
I have often been asked to provide further insight and explanation into my work regarding harmonics and musical/ magnetic geometry and so I have decided to compose this quick primer to explain some of the key philosophies.
*Disclaimer- It is impossible to discuss my contributions in this field and in this art without referencing the work of others. Musical geometry and harmonics is truly the one great art of man in that it applies directly to all art and science that is based upon self evident truth and universal purpose. Endless individuals have contributed mastery through the ages and the concepts quickly discussed here should help further unveil an ancient and universal language shared by all cultures. One contemporary individual in particular however should be recognized for a most crucial discovery that unequivocally binds geometric truth to all physical reality through the simple statement that "all sacred geometry truly represents the segmented blueprints of magnetic currents." This is the message of Jon DePew who is at the forefront of the science of magnetism and who has proven that magnetism is pre-electric through physical experiments. It is largely through the lens of many of his own discoveries, physical experiments and original geometric methods that I present this brief primer into what is ultimately magnetic harmony.
"No Vibration Ever Existed Without 3 Things first"
Perhaps to speak broadly and simply is to speak accurately.
Energy “works” in a way in which it divides its own unity into equal and opposite reactions. +=-. As with any other form of triangulation, it would likewise of course be accurate to state that unity exists between duality, or that neutrality exists between polarities (in mean and extreme ratio.) This simple fact is the basis of the “holy trinity” gods found in the creation myths of all past civilizations.
There is much to be said about how and why this +=- base is necessitated and how and why the endless/ beginningless universe is thus necessarily flung into perpetual vibration and interchange (and ultimately this is of the prime importance,) but today’s theme is ultimately where it goes from there and how this prime balance behaves and is self-maintained in the resulting world.
The manner in which +=- energy maintains its neutralization in its total space corresponds of course to the world of geometry and number. A crucial key to energy however is that it does not correspond to any single “number” or to any single “shape” of geometry solely, but to ALL aspects of number and ALL aspects of geometry, which when considered holistically collectively describe harmony and dissonance in full “spectrum.” Man has long explored this truth through the laws of music!
In any situation (which is ultimately self-reference) that energy puts itself into, it seeks the simplest possible solution- a lowest common denominator “resonant solution” to achieve a perpetual neutralization, where no energy need be created or destroyed and all may be “built” off unity alone. As we can find in number, geometry and musical law as a whole, there are no things in relation that are incapable of achieving rhythmic balance and harmonic unity, no matter their relative dissonances- all motion and all action and reaction known by the world through the workings of energy are a result of energy maintaining its harmonic unity. Nature itself is a result of energy’s ability to maintain a perfect harmonic solution of itself.
Much of my own work has been to visually elucidate the behavior of these harmonic solutions, from its most archetypal base forms to their more intricate resolutions. My methods in all cases essentially result in the whole “number” divisions of one- of a circle into the rays and curves which may be used to re-unite it, for all the ratios and all the “constants” in the whole of eternity already exist within the circle/ sphere itself- in the curves of its unity and all scales between its center and circumference. In musical terms, one could say that all forms of harmony and dissonance exist within the octave itself. Geometry is the shapes of sounds and the same ratios that divide a note into separate tones divide space into its corresponding tonal shapes, and thus the world is “formed,” and consistent with many spiritual philosophies, “sung into existence.”
There are 2 aspects of my work here that I will briefly describe- the more accurate mappings of natural phenomena itself, and the more comprehendible approach that break down and describe the overall relationships that are essentially “musical quasi-solutions.”
All “parts” in nature are best measured in respect to their relationship to their center. This is a geometric/ dimensional thinking that is not entirely inherent to many of us in a world where we have been taught to think in a linear fashion. For instance, beginning and end- there is no such thing as beginning or end in nature, yet it is a constant aspect in nearly all human thought.
Geometry itself (often considered “number in space”) is an escape from linear thinking, yet there are ways to apply linear thinking to it effectively in order for those accustomed to linear thinking to comprehend the behaviors of infinity. For instance, upon the circumference of a circle, where is the beginning and the end?
(Above is my solution to the "circle of fifths" which is one of the primary concepts in music theory. It is derived from the equal packing of 12 spheres within an octave of that sphere/ anchored to a common point on their circumference. Note the colors that come into relation at the center- they accurately derive the circle of fifths relationships.)
If we were to begin upon a point of the circumference, we would find that we could move in two potential directions, but seemingly only one direction at once, and that we would eventually arrive again at this same point. In this linear movement we would conceivably describe all potential correlations between a fundamental tone and its octave (the octave is a product of halving or doubling but carries the same tonal energy and is considered the same note.) We would have moved full circle, full spectrum and covered all potential intervallic options. We would also recognize a very inspiring and universal phenomenon. As the “tone” moves “away” from itself (from its fundamental) it reaches a point where it is directly opposite (this point is known as the “tritone” and has a long history of philosophical, spiritual and religious attributive history,) and continuing upon this trajectory, you would from there begin to return to your point or origin- you would return to your fundamental. This is no different than the fact that the spectrum of color repeats (how purple eventually reunites with red for instance) and incorporates the same aspects of escape and return within itself as a whole. The curve of a wave of course does exactly the same thing and contains exactly the same aspects. Within this circle, within this spectrum, within the waveform exist infinite possible “numerical” divisions and relationships- all harmony and all dissonance (like all forms of duality, harmony and dissonance describe and necessitate each other.)
With these concepts in mind, the laws and behaviors of music, which have been more traditionally taught in far less inspiring or visually informative ways, can be impressively ascertained and visualized in their direct and total relationship.
(In my work to visualize harmonics, color plays a major role as it is a natural manifestation of the principles. Do note that I use the "complimentary color" wheel in many of my older diagrams and I have found many reasonings to support this as an effective visualization of the chromatic scale, but more recently I have determined that the color wheel that separates red, green and blue at 60 degrees from each other is the most accurate base division of the spectrum. The relationship between light/ color and sound will be described in more detail in a future article. It is more complicated than I originally thought.)
The major lesson in non-linear thinking that may be gleaned from this exercise is that to understand how nature works, we must consider both directions of movement at once in order to solve the mystery of the circle/ the sphere itself and its ineffable neutral fulcrum which is its own equal and opposite center.
These two opposing directions/ curves/ spectrums are what Jon DePew refers to as the two “magnetic currents.” Understanding how these equal and opposite spatial/ tonal characteristics work in tandem are crucial to understanding how energy breaths throughout all space by way of its many apparently individual behaviors- centripetal, centrifugal, radial, transverse etc etc.
Musical Mappings of Nature
Nature of course will surely show us its own harmonic solutions and how these perfect solutions are ever achieved within the problem of space which so confounds and humbles human introspection.
One way in which nature most elegantly demonstrates itself is in sound- both in the way it is consciously perceived and in its physical shapes, patterns and measures.
Cymatics is what we call the art and science of projecting sound through matter and is a way to visually perceive sound directly. I teamed up with cymatics researcher John Stuart Reid, inventor of the Cymascope to apply specific geometric analytical methods to the spectacular cymatic images he captured with his Cymascope.
See full work at:
And here. http://www.artofclaytaylor.com/#!cymatics/en5f0
Through this process, I identified the prime intervallic musical ratios (the same ratios that correspond to the most fundamental notes in music) within the geometry of the shapes as well as constants such as Phi and primary square root ratios.
To accomplish this, I simply rely on nature’s most capable and basic shape, the circle and its relationship to itself. Just as the string of an instrument goes through a natural process of infinite subdivision once strung (multiplying its polarities without exceeding or diminishing the space they conjoin) in a process of self-induction known as its “overtones” to achieve all possible harmonic ratios, the circle/ sphere may also be infinitely divided in reference to itself to yield all of its harmonic ratios within its complete space.
All these ratios work elegantly in awe inspiring unison to find stable energetic balance within space, which is a resonant solution between 3 primary components. Reduced as much as possible, these are:
The wavelength/ amplitude etc of the vibrational energy at work
The complete characteristics of the material being induced by the sound vibrations
The dimensions and form of the reflective boundary containing the material in question being induced
What we ultimately see is how a new fundamental is achieved through the resonance of other pre-existing elements in relation. This new fundamental then perpetually maintains its equilibrium (as long as its resonance is required by its parent factors) within its own space, utilizing the endless potential harmonies of its own subdivision.
(What is a number truly? It is a subdivision of dimensional unity.)
Following this energy as it branches itself into its many potential forms is essentially following the path of the octaves fundamental energy as it achieves its stability through total space. I often consider form and shape in nature to be “the path of the octave.” This network of fundamental tone partitions itself according to a harmonic hierarchy to achieve the simplest and most even distributions possible to achieve a structure of neutral nodes that act as frictionless anchors or fulcrums for the vibrational energy to solve the problem of the space being induced. Consider this when Jon DePew states “sacred geometry is really representing two magnetic currents and the neutral particles of matter they orbit as a common core.”
Where Does It Go From Here?
The world is not composed of anything that is separate from anything else… therefor there are not in truth separate forces as many contemporary scientists believe (electromagnetism, strong force, weak force, gravity etc.) The explanations of contemporary particle physics are similarly invalid in so many ways. Many will forever argue against this, but they will argue in a language that does not directly correspond to nature and its truth itself, but will essentially appeal to the teachings of their own teachers and their attempts to quantify their observation with more or less finesse…
There is only one energy which accomplishes all and that energy is necessarily composed of +=- as applied to the constants of space and dimensional self-reference/ self-induction. I am in agreement that magnetism is the best description for this one energy because its fields of polarity are composed of these opposite spatial curvatures that invisibly unite everything that exists, harmonically defines and manages every wave and particle, and induces all motion and perpetuates all cycles flawlessly. Most importantly, magnetism is not contingent upon a miraculous act of creation, but shall be found to be necessitated by the unity of eternity itself as its own first cause.
Upon future revelation into this scientific truth and far beyond the scope of this article or my authority or ability to cover it, it shall ultimately be revealed how all seemingly disparate physical “forces” are all but the workings of the base trinity +=- characteristics of magnetism. We will find how all elements exist as the different stable geometric distributions of these 3 things within the “atom” and we will discover how energy may be creatively and effectively wielded in harmony and without loss. The only hope for humanity and the only true solution to our endless problems is through base truth itself and a return to harmony as the basis of all that we create.
*Jon DePew’s original work may be found at: