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Mini- bio of Ernst Chladni: Keely used Chladni figu
(word processor parameters LM=1, RM=70, TM=2, BM=2)
Taken from KeelyNet BBS (214) 324-3501
Sponsored by Vangard Sciences
PO BOX 1031
Mesquite, TX 75150
01/04/90
Mini Bio :
Ernst Florens Friedrich Chladni (klahd'nee)
German Physicist
Born: Wittenberg, Saxony, November 30, 1756
Died: Breslau, Silesia (modern Wroclaw, Poland), April 3, 1827
Chladni, the son of a lawyer, found his own education directed to
the law, much against his will. He received his degree from the
University of Leipzig in 1782, but when his father died Chladni
was able to consult his own interests more freely, and these lay
in the direction of science.
Since he was interested in music and was himself an amateur
musician, he began to investigate sound waves matehmatically in
1786.
He was the first to work out the quantitative relationships
governing the transmission of sound and is therefore called the
Father of Acoustics.
Chladni set thin plates, covered with a layer of sand, to
vibrating. The plate vibrated in a complex pattern, with some
portions (nodal lines) remaining motionless. The nodal lines
retained sand shaken onto them by the neighboring areas that were
vibrating.
In this way the plates came to be covered with characteristic sand
patterns from which much could be deduced concerning vibrations.
The patterns (which are still called Chladni figures) fascinated
the audience when they were exhibited before a gathering of
scintists at Paris in 1809. Napoleon had the demonstration
repeated for himself.
The velocity of sound had already been measured in air by Gassendi
and others two centuries earlier, but Chladni went a step further.
He filled organ pipes with different gases and from the pitch of
the note sounded on those pipes was able to calculate the velocity
of sound in each of those cases.
The free vibration of a column of gas determines its pitch, and
that vibration depends on the natural mobility of the molecules
making it up.
The velocity of sound through the gas also depends on the natural
mobility of those molecules, so that the velocity of sound in a
particular gas can be calculated from the pitch sounded by an
organ pipe filled with gas.
Chladni invented a musical instrument called the Euphonium, made
of glass rods and steel bars that were sounded by being rubbed
with the moistened finger, and traveled about Europe performing on
this instrument and giving scientific lectures.
He also had a collection of meteorites and was one of the first
scientists to insist that these fell from the heavens, as a number
of peasants, who claimed they had seen it happen, had reported.
In 1794 he wrote a book on the subject and suggested the
meteorites to be the debris of an exploded planet.
In the very reasonable Age of reason of the late eighteenth
century, scientists were reluctant to believe such obviously tall
tales, until Biot settled matters at the turn of the century.
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Modern research into the phenomena elicited in Chladni figures can
be primarily attributed to the late Dr. Hans Jenny of Switzerland.
Dr. Jenny attempted to develop a system which would show Chladni
figures in three dimensions through the use of computer imaging.
His best 3D efforts resulted from the use of a plastic material of
extremely fine grain which possessed a modest attraction to allow
the formation and transmutation of lifelike structures from
excitation by acoustic waves.
An excellent film of Dr. Jenny's work demonstrates the many
unusual phenomena which occur when various sounds are played
against each other. This film is included in a video entitled
"Cymatics" which also features the current work of Dr. Peter Guy
Manners on the healing aspects of complex waveforms.
We know that Keely developed analytical devices based on Chladni
principles to assist in his understanding of frequency phenomena.
Photos of his equipment show many different types of resonators
ranging from tubes, to discs, to vibrating bars.
At this time, we have no positive knowledge of the nature or
construction of these devices.
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