Cymatics Explained: The Hidden Geometry of Sound and the Human Voice
In This Guide
- The Hidden Geometry of Sound
- What Is Cymatics?
- The History: From da Vinci to Hans Jenny
- Faraday Waves and Patterns in Motion
- Margaret Watts Hughes and the Birth of Visual Sound
- The Language of Frequency
- The Human Body — Cells, Water, and Sound
- How Do We Hear? — From Vibration to Perception
- Cymatics in Practice: Demonstrations and Visual Experiments
- FAQ – Cymatics, Science and Sound
- Additional Resources on Cymatics and Sound Research
- Recommended Reading on Cymatics and Sound
The Hidden Geometry of Sound
Cymatics is the study of how vibration influences physical matter. When sound is introduced into a medium such as water, sand, or a vibrating plate, distinct geometric patterns can emerge. These patterns are not random. They are the result of frequency, resonance, and wave interaction, providing a visible demonstration of how sound energy behaves in the physical world.
Although cymatics is often associated with striking visual images, its foundations lie in acoustics, physics, and the study of vibration. Experiments by researchers such as Ernst Chladni, Michael Faraday, and Hans Jenny revealed that different frequencies can produce different arrangements of matter, helping scientists better understand standing waves, resonance, and pattern formation.
Cymatics occupies a unique position between science, music, and visual art. By making vibration visible, it allows us to observe phenomena that would otherwise remain hidden from human perception. From the geometric sand figures of Ernst Chladni in the eighteenth century to the voice-generated forms of Margaret Watts Hughes and the pioneering experiments of Hans Jenny, researchers have repeatedly demonstrated that sound can produce organised structures under the right conditions. These discoveries helped shape our understanding of resonance, wave behaviour, and the relationship between vibration and form.
For singers, musicians, and voice professionals, cymatics offers a fascinating perspective on sound production. The human voice is created through controlled vibration of the vocal folds, generating sound waves that interact with the surrounding environment. While cymatic patterns themselves are produced under specific laboratory conditions, they provide a useful way of visualising the physical principles that underlie resonance, frequency, and acoustic behaviour.
As a vocal coach, I find cymatics particularly valuable because it encourages singers to think of sound not only as something we hear, but as a measurable physical phenomenon. It provides a visual framework for understanding concepts such as resonance, vibration, and the relationship between sound and the spaces through which it travels.
What Is Cymatics?
Cymatics is the study of how sound shapes matter. When a surface with particles (like sand or water) is vibrated by sound, the particles shift into organized patterns — like flowers, stars, or snowflakes. These patterns are not random. They are precise, often symmetrical, and unique to each frequency.
Each frequency creates a different shape: Lower sounds create larger, simpler patterns / Higher sounds create smaller, more complex ones
These experiments demonstrate how vibration can influence the distribution of matter under controlled conditions. Cymatics provides a visual representation of resonance, standing waves, and pattern formation, helping researchers and students better understand the physical behaviour of sound.
The History: From da Vinci to Hans Jenny
Long before cymatics had a name, great thinkers were observing the hidden mechanics of sound. Leonardo da Vinci noted how vibrations passed through solid materials. He understood that sound was not just something to be heard but something that physically affected matter.
Galileo Galilei added to this by describing how dust and fine sand would leap and settle into patterns when exposed to musical instruments or loud tones. His careful observation hinted at what would later be fully understood through cymatics.
In the 1700s, Ernst Chladni famously bowed a violin bow across a metal plate sprinkled with sand. As the plate vibrated, the sand jumped and settled into symmetrical patterns. These Chladni figures became iconic, not only in acoustics but in the visual arts.
In the 1960s, Hans Jenny coined the term “cymatics” and used a device called a tonoscope to visualize sound. His experiments showed beautiful, intricate mandala-like shapes forming in various substances. Jenny regarded these experiments as evidence that vibration plays an important role in the organisation of physical systems and natural forms.
Photo: NASA’s Technology Box experiment, conducted aboard the Tetr’ISS mission, captures Chladni-style geometric sound patterns — a graceful demonstration of how vibration organizes matter, even in microgravity. Image courtesy of NASA Johnson Space Center
Faraday Waves and Patterns in Motion
When sound vibrates a surface — especially a fluid one — we often see what are called Faraday waves. These are stable, periodic patterns that emerge on the surface of a fluid when it is vibrated at certain frequencies.
These patterns provide a useful demonstration of how fluids respond to periodic vibration. As you increase the frequency, the shape evolves: simple wave structures may develop into increasingly complex geometric arrangements as vibration frequency and amplitude change. Each shift corresponds to a specific sound input. “Pictured: Illustration of cymatics: bead patterns formed by Faraday waves. This principle underpins how sound frequency and vocal resonance — taught in expert vocal coaching and singing lessons — can create real, structured impact.
Image: Faraday Telsa, CC BY-SA 3.0. The human body responds to sound through hearing, tissue vibration, and bone conduction. While Faraday waves occur under specific laboratory conditions, they provide a useful illustration of how vibration can influence fluid systems.
Margaret Watts Hughes and the Birth of Visual Sound
Margaret Watts Hughes (1842–1907) occupies a unique place in the history of acoustics as one of the earliest researchers to demonstrate that sound possesses inherent form. Working decades before the term cymatics was coined, she developed the eidophone—an instrument designed to allow sound, particularly the human voice, to act directly upon a resonant surface.
Unlike earlier devices that merely traced vibration mechanically, the eidophone revealed how sustained tones could reorganise fine matter into coherent, often organic structures. As sound passed through the instrument, material arranged itself into visible forms, showing that vibration is not only motion through space, but an organising force capable of generating structure.
Hughes published her findings in Visible Sound – Voice Figures (1891), with several of her experiments demonstrated to the Royal Society. Her work stands as one of the earliest scientific attempts to visualise sound as geometry, anticipating modern cymatic research by nearly a century.
The Eidophone and Early Visual Sound Experiments The eidophone marked a decisive moment in the history of acoustics. Unlike earlier instruments that merely traced vibration, it allowed sound — particularly the human voice — to act directly upon a resonant surface. As tones passed through the device, matter reorganised itself into visible structures, demonstrating that sound can produce repeatable geometric patterns when interacting with suitable materials under controlled conditions.
Eidophone diagram: Sound Eidophone byMargaret Watts Hughes, published in Visible Sound – Voice Figures (1891). Public domain. Source: Wikimedia Commons
Early Visualisations of Sound (1891)
“Seaweed” Form Among the most celebrated images from Visible Sound – Voice Figures (1891), Seaweed Form demonstrates Hughes’s remarkable discovery that sustained vocal tones could generate stable visual structures. Rather than producing random motion, the vibration organised matter into flowing, organic forms resembling marine vegetation. At a time when sound was still largely understood as an invisible phenomenon, images such as this suggested that vibration possessed an underlying architecture capable of producing order and form.
Image: “Seaweed” sound form, created by Margaret Watts Hughes using an eidophone. Published in Visible Sound – Voice Figures (1891). Public domain. Source: Wikimedia Commons
“Serpent Form” The intricate contours of Serpent Form reveal a striking degree of symmetry and repetition. Hughes observed that different vocal tones produced entirely different visual outcomes, indicating that frequency and resonance directly influenced the organisation of matter. Decades before modern cymatic research, this image hinted that sound could function as a creative organising force rather than merely a carrier of audible information.
Serpent Form, Margaret Watts Hughes, 1891. From Visible Sound – Voice Figures, Century Magazine. Public domain. Source: Wikimedia Commons
Tree Form Perhaps the most famous of Hughes’s voice figures, Tree Form appears uncannily similar to patterns found throughout nature. Its branching structure recalls trees, river systems, blood vessels, and lightning formations. Modern scientists recognise such recurring geometries as examples of self-organising systems, making this image particularly fascinating because it emerged solely through the action of vocal vibration on a resonant medium.
Image: Margaret Watts Hughes, 1891. Public domain. Source: Wikimedia Commons.
Cross Vibration Unlike the organic appearance of Tree Form and Seaweed Form, Cross Vibration illustrates the interaction of multiple wave forces within a single resonant field. The woven geometry demonstrates how standing waves can intersect, reinforce, and oppose one another, creating complex structures from simple vibrational inputs. The image provides a visual precursor to many principles now studied in acoustics, resonance theory, and wave mechanics.
Image: Margaret Watts Hughes, 1891. Public domain. Source: Wikimedia Commons.
Taken together, these images occupy a unique position in the history of sound research. Created more than seventy years before Hans Jenny introduced the term cymatics, they represent some of the earliest successful attempts to visualise the geometry of vibration. Hughes’s work stands alongside the experiments of Chladni and Faraday as an important milestone in the scientific exploration of resonance, frequency, and pattern formation. Today, these nineteenth-century voice figures continue to fascinate researchers, musicians, artists, and acousticians because they reveal an enduring truth: sound is not merely heard—it can also shape the physical world in visible and measurable ways.
The Language of Frequency
Every sound we hear carries a frequency — a precise rate of vibration measured in hertz (Hz). Frequency determines how rapidly a sound wave oscillates and plays a major role in how we perceive pitch. Lower frequencies are associated with deeper sounds, while higher frequencies are perceived as higher pitches.
In cymatic experiments, different frequencies produce different visual patterns. As vibration frequency increases, simple wave structures often become more complex, creating increasingly intricate geometric arrangements in water, sand, or other materials. These patterns provide a visible demonstration of how vibration influences matter.
Pictured: A cymatic experiment in water at 11 Hz revealing concentric wave structures formed by controlled vibration.
The relationship between frequency and pattern formation helps researchers understand resonance, standing waves, and energy distribution. Similar physical principles are found throughout acoustics, musical instruments, architecture, and engineering.
Human hearing operates across a wide frequency range, typically from approximately 20 Hz to 20,000 Hz. Within this range, the auditory system continuously analyses frequency, amplitude, and timing information to help us identify speech, recognise musical pitch, and locate sounds in space.
For singers, frequency awareness is important because vocal pitch is produced through controlled vibration of the vocal folds. Changes in vocal fold length, tension, and airflow alter vibration frequency, allowing the voice to move across different notes and registers.
Pictured: Cymatic pattern formed in water under 15 Hz vibration, demonstrating resonance geometry through sound.
In my work offering vocal coaching and singing lessons in London, I’ve seen this phenomenon first-hand. When students improve breath coordination, resonance, and vocal efficiency, changes in clarity, projection, and tonal balance are often immediately noticeable. Cymatics provides a useful visual framework for understanding the physical basis of these changes.
The voice functions as a complex acoustic instrument capable of generating a wide range of frequencies, harmonics, and resonant behaviours.
Modern Cymatics – Making the Voice Visible
Modern cymatic systems can visualise the effects of vocal vibration by translating sound waves into observable patterns. Different pitches, amplitudes, and vocal timbres can produce different geometric structures, providing a useful tool for demonstrating how acoustic energy behaves in physical media.
Pictured: Voice-driven cymatic pattern visualised in water using modern resonance imaging. Sample of a Voice-Representation by Resonance in Water, made by iVibe. Image courtesy of iVibe (CC0)
Singing, Resonance and Human Response
Professional singers learn to use resonance with exceptional efficiency. Rather than relying solely on greater vocal effort, advanced vocal technique develops the natural acoustic properties of the vocal tract, allowing the voice to project clearly while remaining balanced and sustainable. Opera singers provide perhaps the most striking example of this principle, producing enough acoustic energy to be heard over a full orchestra without electronic amplification. This remarkable ability reflects highly efficient coordination of breath, vocal fold vibration, and resonance rather than simple loudness.
The Human Body — Cells, Water, and Sound
The human body contains a large proportion of water and responds to sound through multiple mechanisms, including hearing, bone conduction, and the mechanical vibration of tissues. These interactions form the basis of how sound is perceived and experienced.
Pictured: Water under 12.5 Hz vibration, captured by Jordi Torrents — a vivid cymatic illustration of how frequency shapes matter and echoes the unseen language of the singing voice
When you speak or sing, the sound travels not only through the air but through bone conduction, muscle tissue, and the circulatory system.
Researchers continue to investigate how vibration interacts with biological systems, although many proposed mechanisms remain subjects of ongoing study.
Cymatic pattern formed in water by a triangular 11 Hz vibration within a circular container.
In healing traditions across the world, chanting, humming, and singing have been used to induce states of calm, clarity, or transformation. Modern research continues to investigate the effects of music, rhythm, and vocalisation on stress, mood, breathing patterns, and social connection.
Image by Jordi Torrents, European Science Photo Competition
Singing, Resonance and Human Response
A singer produces acoustic energy that can influence how listeners perceive emotion, intensity, and musical expression. Singing generates acoustic energy that propagates through the surrounding environment as pressure waves. Musical performance can influence listener perception, emotional engagement, attention, and physiological responses.Research suggests that singing and music can influence emotional state, attention, breathing patterns, and social connection. Neurological studies show that singing affects the brain profoundly — activating multiple regions, including those linked to memory, emotion, and motor function. Singing can even stimulate the vagus nerve, leading to states of deep relaxation.
In my experience as a Vocal Coach in London, I’ve observed students gain confidence, emotional release, and even physical well-being simply by learning to resonate more fully with their voice. Many singers report increased confidence, self-expression, and emotional engagement as their vocal technique develops.
Cymatics in Healing, Art, and Modern Science
Cymatics has attracted interest from researchers, artists, educators, and practitioners interested in the visualisation of sound and vibration. Artists now use cymatic patterns to design installations and create sculptures that respond to sound. In these works, the invisible becomes visible — vibration is captured in form.
Healers and sound therapists are increasingly turning to cymatics to support emotional and physical well-being. Tuning forks, crystal bowls, and voice-based approaches are used in various sound therapy practices, although scientific evidence supporting specific therapeutic claims varies considerably.
Even architects are exploring how sound shapes space. Some buildings are designed with acoustic geometry informed by cymatic principles — spaces where sound flows naturally and supports human well-being. Cymatics demonstrates that sound can produce observable effects in physical media, providing a useful framework for studying resonance, vibration, and wave behaviour.
Pictured: A cymatics artwork by Laurent Lettrée, showing the elegance of resonance patterns formed in water through sound
How Do We Hear? — From Vibration to Perception
Cymatics shows us how sound becomes visible; the science of hearing reveals how vibration becomes awareness. This official educational video from the National Institute on Deafness and Other Communication Disorders (NIDCD), part of the U.S. National Institutes of Health (NIH), explains how each sound wave entering the ear begins as a ripple of air and ends as an electrical pattern in the brain. The eardrum vibrates like a membrane in a cymatic experiment, the cochlea spirals like a living resonant chamber, and the hair cells translate motion into meaning — a biological counterpart to the geometric forms we see in vibrating water or sand.
This animated video illustrates how sounds travel from the ear to the brain, where they are interpreted and understood. Also available: How Do We Hear?, a step-by-step explanation.
© Public Domain. Courtesy of the NIDCD, part of the U.S. National Institutes of Health.
Cymatics and hearing research both begin with vibration. In cymatic experiments, vibration produces visible patterns in matter. In the auditory system, vibration is converted into electrical signals that the brain interprets as sound. Together, these fields illustrate how physical wave motion can generate both observable structures and auditory perception.
Cymatics in Practice: Demonstrations and Visual Experiments
CYMATICS: Science Vs. Music – Nigel Stanford
An iconic and visually stunning film where music meets science. Featuring real experiments like the Chladni Plate, Tesla Coil, Ruben’s Tube, and Ferro Fluid, this groundbreaking 4K video captures how sound waves sculpt the material world. A perfect fusion of artistic vision and scientific precision, created by electronic composer Nigel Stanford.
Demonstrating Resonance with Chladni Figures – Royal Institution
Physicist Charles Taylor recreates the mesmerizing Chladni figures — patterns formed by sound vibrating flat surfaces. A delightful exploration of how music and mathematics are intertwined, extracted from the Royal Institution’s legendary Christmas Lectures.
The Majesty of Music and Mathematics – Santa Fe Institute
An intellectual and emotional journey through harmony, math, and cosmic order. Dr. Cris Moore and violinist David Felberg explore how the universe’s mathematical underpinnings express themselves through music — from Pythagoras to Bach and beyond.
Amazing Resonance Experiment!
This video demonstrates how resonant frequencies can organise sand into distinct geometric patterns on a vibrating plate: sand dancing into intricate geometric patterns on a vibrating metal plate. A tone generator activates resonant frequencies, letting us witness the invisible architecture of sound unfold before our eyes.
Masaru Emoto – Water and the Power of Words
Masaru Emoto’s work explores the idea that human language, intention, and emotion may be reflected in the visual appearance of frozen water crystals. Shared widely through photographs and films, his work has influenced philosophical and spiritual discussions about perception, symbolism, and the relationship between consciousness and nature. While Emoto’s interpretations are not supported by controlled scientific methodology and remain controversial within the academic community, his imagery has had a lasting cultural impact by drawing attention to the visual patterns found in water.
The following videos present Masaru Emoto’s ideas in his own words and through documentary-style presentations. They are included for cultural interest rather than as scientific evidence.
Masaru Emoto – Water Experiments
Masaru Emoto’s Experiment in Gratitude
Tonoscope: The Human Voice Made Visible – Christian Stuten
A demonstration of Hans Jenny’s original tonoscope by longtime collaborator Christian Stuten. Christian Stuten, Jenny’s assistant for 14 years, shows how spoken words create harmonic sand patterns — living proof that the human voice can shape matter through frequency alone.
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FAQ – Cymatics, Science and Sound
Who Were the Early Pioneers of Cymatics?
The study of cymatics — how vibration shapes matter — spans millennia. Long before it became a scientific discipline, philosophers, artists, and inventors observed that sound leaves visible fingerprints in the material world.
Pythagoras (6th century BCE) Pythagoras discovered that musical harmony follows mathematical ratios — the “music of the spheres.”
Leonardo da Vinci (1452–1519) He observed vibration in solids and air, noting dust forming geometric patterns — an early cymatic insight.
Galileo Galilei (1564–1642) He described how fine dust rearranges when instruments vibrate, bridging philosophy and experimental science.
Robert Hooke (1635–1703) Hooke produced the first recorded standing-wave patterns on glass plates — anticipating Chladni’s work.
Ernst Chladni (1756–1827) By bowing sand-covered metal plates, Chladni created symmetrical figures proving sound organizes matter.
Michael Faraday (1791–1867) He discovered Faraday waves — stable liquid patterns linking sound, energy, and motion.
Hans Jenny (1904–1972) Jenny coined cymatics and built the tonoscope to visualize complex, organic forms created by sound.
What are Faraday waves? Faraday waves are stable, symmetrical patterns formed on a liquid’s surface when exposed to vibration at specific frequencies. They visually prove that sound organizes fluid matter into geometric shapes.
What is a tonoscope? The tonoscope, created by Dr. Hans Jenny, visualizes sound by vibrating a membrane coated with fine powder or liquid. It reveals how tones produce intricate, mandala-like structures.
How does cymatics connect to modern science? Cymatics now intersects with acoustics, physics, and quantum biology. NASA, Stanford CCRMA, and Cambridge University explore how vibration influences matter. Modern devices like CymaScope translate sound into precise water-based geometries.
What are the main breakthroughs in cymatics research?
Visualization of Sound Hans Jenny’s tonoscope proved sound has geometric structure.
CymaScope Technology Modern high-speed water imaging shows live sound patterns.
Medical and Therapeutic Studies Studies explore how sound frequencies may aid cellular balance and stress reduction.
Space and Plasma Acoustics NASA’s “Sounds of Space” recordings reveal cosmic vibration patterns akin to cymatic forms.
How is cymatics used today? Cymatics informs architecture, acoustic design, art, and vocal therapy. In singing, awareness of resonance helps refine tone and connect breath with physical vibration.
How does cymatics relate to musical harmony? Each cymatic figure mirrors musical intervals — octaves, fifths, and thirds. The same mathematical ratios governing harmony also shape geometric sound patterns.
Can the human voice create cymatic patterns? Yes. When vowels are sung into water or powder, distinctive shapes appear. Every voice produces a unique geometry defined by resonance and timbre.
Are cymatic shapes identical across frequencies? No. Higher frequencies produce more complex symmetrical forms, echoing the harmonic series and revealing nature’s link between frequency and structure.
What instruments visualize cymatics today? Scientists use the CymaScope, laser interferometers, and water-holographic projection to record three-dimensional vibration maps, continuing Hans Jenny’s vision with precision technology.
Why is cymatics important for singers and musicians? Cymatics bridges art and science. Seeing vibration teaches singers to shape resonance with intention, balancing overtones and breath to project sound efficiently.
Where can I learn more or see cymatics in action? Explore CymaScope Lab, NASA, Stanford CCRMA, and Yale Sound Studies for research videos and publications.
Guide on Dynamic Microphones for Singers Discover how dynamic microphones carry vocal power and projection — ideal for performances, rehearsals, and stages where clarity and reliability matter most
Guide on Condenser Microphones for Vocals Explore how condenser microphones reveal tone, breath, and subtle color, bringing intimacy and precision to every studio recording
Guide on Wireless Microphones for Performers Learn how wireless systems remove the limits of cables, allowing singers to move freely while maintaining studio-quality sound
Guide on Studio Headphones for Singers & Recording Artists Understand how professional headphones help refine pitch, balance, and dynamics — essential tools for mastering vocal precision and expression
Guide to the Evolution of Sound Recording Follow the journey from early wax cylinders to modern digital clarity — tracing how each era redefined the art of capturing the human voice and the science of vibration itself
Additional Resources on Cymatics and Sound Research
CymaScope – Visualizing Sound The CymaScope is a scientific instrument that makes sound visible. This platform offers groundbreaking cymatic imagery and educational resources, revealing how sound frequencies shape matter. Their research bridges acoustics, music, water memory, and harmonic geometry. CymaScope.com
Stanford University – CCRMA (Center for Computer Research in Music and Acoustics) CCRMA at Stanford is one of the world’s leading centers for the intersection of music, sound technology, and acoustics. It explores spatial audio, algorithmic composition, auditory perception, and sonic interaction design—perfect for understanding how sound behaves in space and form. ccrma.stanford.edu
Yale University – Sound Studies Collection Yale University Press offers a dedicated section on “Sound Studies,” covering the cultural, historical, and scientific exploration of sound. It’s an excellent academic resource for understanding how sound has been studied and interpreted across disciplines. Yale Sound Studies
University of Cambridge – Acoustics & Fluid Dynamics Cambridge researchers study the complex behavior of sound in fluids, especially water and air. Their work in fluid dynamics, wave mechanics, and acoustic scattering offers a deeper understanding of the same principles that drive cymatics. cam.ac.uk – Research News
NASA – The Sound of Space NASA has studied vibrations in space through solar oscillations, plasma waves, and spacecraft recordings. Their sound-based research extends our understanding of how frequency patterns manifest in cosmic environments, providing insight into vibration and wave behaviour in large-scale physical systems. NASA Sound Library
Recommended Reading on Cymatics and Sound
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The following books provide further reading on cymatics, acoustics, vibration, resonance, sound therapy, and the study of sound in both scientific and creative contexts.
Cymatics: A Study of Wave Phenomena and Vibration – Hans Jenny The classic and foundational book on cymatics, first published in the 1960s. Jenny’s pioneering experiments revealed how sound frequencies create geometric patterns in matter, laying the groundwork for all modern studies of vibration.
The Hidden Messages in Water – Masaru Emoto An influential cultural work presenting photographic images of frozen water crystals alongside reflections on language, intention, and perception. Though controversial and not scientifically validated, the book has played a notable role in popular discussions about sound, symbolism, and the visual imagination of vibration.
Water Sound Images: The Creative Music of the Universe – Alexander Lauterwasser A visually stunning exploration of sound shaping water into intricate forms. This book brings to life the hidden symmetries and universal patterns created by vibration.
Tuning the Human Biofield: Healing with Vibrational Sound Therapy – Eileen Day McKusick A groundbreaking work on the therapeutic use of sound, showing how vibration can detect and resolve energetic imbalances in the human body. Highly practical and widely praised.
![By Eileen Day McKusick Tuning the Human Biofield: Healing with Vibrational Sound Therapy (1st Edition) [Paperback]](https://thevocalcoachlondon.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGNVYxaHlSVWN5U2t3dWFuQm58MTc4NTc4OTY2Ng=)
Sound: Profound Experiences with Chanting, Toning, Music, and Healing Frequencies – Dr. J. J. Hurtak & Dr. Desiree Hurtak An inspiring collection of perspectives on sound as a force for healing and transformation, blending chanting, music, and spiritual frequencies.
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Image Credits
Featured image: “Golden cymatic ripples” by Jordi Torrents (Wikimedia username: Xurxo12), captured with a Nikon D3000.
Licensed under Creative Commons Attribution-ShareAlike 4.0.
Available via Wikimedia Commons: Golden ripples – cymatics