The science of Eidography may be defined as, “the study of the transference and interpretation of eidetic vision through the implementation of eido-sensitive apparatuses”. That may be a lot to grasp and hopefully this definition will become clear by the time you finish reading this, as Eidography opens up many new possibilities for experimental research. Eidography, in the simplest of terms, is a new and unorthodox means of studying communication.

In order to understand Eidography, one must first comprehend the imagery of eidetics. Eidetic imagery is a part of our thoughts, our being – it holds the ultimate truth in the cosmology of our perception. The eidetic experience is a vision of the spiritual. Such visions are the basis and foundation for much of the content in the arts of language, sculpture, and musical composition. Composers have long held the keys to translating these visions into musical creations. Likewise, the poet, through the structure of his words, presents a direct view into the persistence of eidetic worlds. In order to fully conceive how the artforms rise to this occasion of communication, we must first go back to the beginnings of intelligent communion- speaking, singing, and writing.

DENDRITES- THE STRUCTURAL ARCHETYPE OF COMMUNICATION

The term dendrite refers to the branching figure resembling trees found on or in mineral substances, and for our purposes, it may be defined as anything possessing a branching pattern similar to trees, rivers, lightning, etc. Nearly all organic forms of natural energic systems display this characteristic. The geometric configuration of such systems can be ascertained from not only the sections of branching, but from its “phyllotaxis” as well. The phyllotaxis of any given branching system is determined by the spiral arrangement of branching parts on its axis or stem, and in all cases it displays the living geometries of the Golden Mean.

From the complexity of the embraced dendritic forms of speaking and conversation arise the sigils and letters of writing. The very essence of the composition of spoken language, due to its basis in thought, possesses an eido-dendritic form. The details of the process of language from its conception to the actual written word may be summed up in the following explanation.

The first issuance of a language’s composition will arise from the biological structure of our neurological system which has been determined to be dendritic in form. Next, the ordering process of the composition in conjunction with thought may be expressed vocally. This does not take on the familiar acoustic/two-dimensional transverse wave-shape that we have become accustomed to through the interpretations of conventional physics, but it reveals all the characteristics of dendritic form, as it is a quality of composition. Finally, the written language is composed out of distinct and separate individual parts of the dendritic sounded form. The highly complex branching pattern of the eido-dendritic thought/sentence configuration has now been reduced to a system of simple symbols which derive their form from the segments of the dendritic caste. The meaning of each symbol and/or groups of these symbols carries the representation of the associated eidetic image in its dendritic matrix. To detail such symbols, including all forms of ancient inscriptions, written language, magical/religious glyphs, etc., and their eidetic similarity to one another is far beyond the scope of this article, but research is currently in progress.

Now we know that spoken language carries with it a quality of living energy. It is not static, monotonicity of randomly grouped sounds, but a living composition of carefully selected intonations with high and low points of emotion. To objectify this, we will now look to the remarkable experiments of Margaret Watts Hughes.

THE EIDOPHONE VOICE FIGURES

In 1885, a woman by the name of Margaret Watts Hughes developed an instrument which, in combination with the human voice, was able to create the branching figures of flowers, ferns, trees and other organic forms into physical manifestation. She called this invention the Eidophone. The Eidophone was constructed of a hollow tube which opened up into a larger, bell-like chamber. The top of the bell chamber was covered with a thin membrane of india rubber. Singing into the tube produced a variety of tone signatures on the surface of the membrane. In her earlier experiments, Hughes used differing qualities of lycopodium powder to sprinkle on the surface of the membrane which, when sung into, produced simple vibrational geometric patterns. She noted that it was not only the pitch and magnitude, but the tonal quality of the voice which induced varying characteristics in the shape of the figures. Not long after her initial experiments, she began using liquid substances to coat the membrane, and to her astonishment, the organic forms started to appear. These forms were not composed out of simple variation in vibrational structure, but were characteristic of the qualities inherent in the compositional arrangement of the tones themselves.

One need only examine the photographs of these figures to capture the essence of their organic eido-dendritic form. Her experiments justify the claims that information of this compositional nature is transmitted in eido-dendritic form.

The medium of transmission (as in the Eidophone’s liquid forms) must naturally be dendrite-receptive in order for the correct formation to arrange itself. Thus, from the philosophical viewpoint of Rudolf Steiner’s four ethers, these eido-dendritic forms find their natural habitat in the chemical or tone ether. The four ethers – Warmth, Light, Chemical, and Life-are endowed with formative processes, and the chemical/tone ether possesses the requisite living, liquid substance of which all vocal and musical composition finds its medium. This chemical/tone ether is the living, breathing substance of the earth itself.

In the written works of Gerry Vassilatos, specifically the Vril Compendium, he defines the very essence of all forms arising not from the aetheric, but from Vril manifestation. Vril is the fundamental eidetic thread of the universe; theĀ  underlying and archetypal energic quality of the living. “Vril is dendritic and generates dendritic structures throughout the natural world” (Vassilatos). In Volume 4, Vril Archeforms, Gerry reveals that Vril permeates everything dendritically, and “organizes and variegates itself through the ground … extending through us and continues entwining itself throughout the universe” (Vassilatos).

So, it is without question that the telluric/aetheric medium of vocal and musical composition finds as its conveyance, a dependency to dendritic form.

DENDRITIC ANGULARITY IN MUSICAL COMPOSITION

Many composers have sought to convey the essence of their visions of the spiritual in their musical ideas. In the purer visions of eidetic realities, the translation into composition almost always displays the characteristics of angularity common to dendritic forms. We must remember again, that there exists none of what are referred to as dissonances in these angular intervals. The term dissonance, used to describe so-called unpleasing combinations in harmony, is strictly an uninitiated concept.

Many twentieth century composers such as Olivier Messiaen, Gyorgy Ligeti, Krzystoff Penderecki, and others have most profoundly rendered their visions into this compositional form. Examples may be found in Messiaen’s Trois petites Liturgies de Ia Presence divine, Quatuor pour Ia Fin du Temps, and Visions de L ‘Amen; Ligeti’s Atmospheres and Melodien, and Penderecki’s Dimensions of Time and Silence, to name but a few. This ability seems to have its roots centered around the latter part of the 19th century with impressionists like Debussy, who subscribed to the radical idea (at the time) that the composer’s ear and taste were more important than governing composition by the rules of harmony and counterpoint.

Dendritic angularity also finds itself in highly inspired improvisation. The music and extemporization of John McLaughlin has often been described as “angular”, and there is very little linearity in his compositions or improvisations. Other inspired jazz musicians such as John Coltrane have had their improvisations very simply, but most intuitively described as “scrambled eggs”. While it is certain that this angularity is not prerequisite to “good music” it is merely an indication that much is conveyed by its presence. Even in the folk tunes of the British Isles, one finds a complexity of angularity to the music, and this may in fact be associated with the dendritic/telluric emanations of the land itself.

SACRED SITES, LEY LINES AND THE CHANGING GRID

These dendritic/telluric emanations are not limited to, but find their most pronounced effect at and around what are referred to as sacred sites. In recent times, these sacred places (mounds, medicine wheels, cathedrals, megaliths, etc.) have been referred to as astronomical observatories, sites of ancient tribal ritual, worship, and burial, and other equally simplified presuppositions – all attributed to the doings of primitive man. Some have conjectured that these ancient sites were constructed and used for communication purposes, and it is this idea with which we will elaborate on.

It has been noted by several researchers that these sacred sites are connected by certain straight lines of power called leys. These ley lines in many cases can be seen, and are the connecting links between sites. Many have also developed elaborate grid systems which in most cases are artificially adapted to the global surface. These grid theories (there are many and most have no relation to one another) explain that the earth’s energy travels along the paths of these grid lines, and that this is a fixed or static condition arising from the grid’s geometric structure. Viewing the earth as a living, breathing entity, one may find it difficult if not impossible to allow such an artificially imposed grid system to govern the flow of earth’s energy. The common problem with all synthetic grid systems originates with those who find it necessary to order nature, and not perceive it from its natural chaotic order.

If we view this in relation to a Vril articulated system, we find that most ley and grid models follow the natural path of the dendritic veinic structure, or vascular system of the planet. The connection between all sacred sites and the existing or past presence of water systems found at these sites is common knowledge among researchers in the field. These range in diversity from underground wells and streams to river systems, and are connected via the earth’s circulatory system. The straight leys do indeed seem to follow the direct path of these dendritic waterways. We must emphasize that in all dendritic systems, we are dealing specifically with the golden mean geometries of growth. This “growth” of course does not mean the simple enlargement of the living system, but moreover the changing and everpresent transformational aspects of the living structure. Therefore, this type of vascular grid cannot be fixed or static such as found in all theories of the earth grid – it is always in a state of transmutation.

 

That this dendritic structure presents to us a more valid network for communication between sites should be obvious, as it has a direct relationship to the Teslian notion of world-wide broadcast through the earth. The living dendritic discharge from the top of a properly entuned Tesla transformer is a positive example that the flow of communicative energy relies on this veinic structure. Actually, several Victorian pioneers of wireless communication realized this, and their inventions have been revitalized through the publication of the many volumes of Gerry Vassilatos’ Vril Compendium. Although many of the early researchers utilized electric power in their inventions, most realized that it was not entirely necessary, and that when used, the quality of electricity was most important. In the very early systems of wireless, the quality of electricity used emulated the type found in nature – that is static electricity. This is certainly not the case today, and with our vast electrical grid utilizing a manufactured transverse electromagnetic type of electricity, it is no wonder that the planet’s natural energic system has been rendered nearly unusable.

SCRYING, ANCIENT INSCRIPTIONS, AND COMMUNICATION

We have already established that written language finds its communicative archetype in dendritic form. The ancient arts of divination and scrying are a direct example of rendering eidetic vision or dendritic “eidographs” into intelligible application. From the earliest practises of divination we may see the forms of written language appear. Consider if you will, the reading of tea leaves, or the casting of bones. When one looks into the bottom of the cup at the leaves, or gazes down upon the entanglement of bones, one readily sees broken geometric patterns taking shape. Even the earliest form of divination-fire gazing-is obvious in dendritic caste. Once again, this involves communication and interpretation
of information. Later, these scried forms would naturally evolve into early written communication. The finest examples would be that of Norse runes and Celtic Ogham inscriptions which have survived as oracles to the present day. Curiously enough, both have allusions to trees in the myths surrounding their birth, and what better dendritic parentage than a tree? Both languages are composed of branching patterns, the Ogham, being the lesser evolved of the two, is more striking.

Ancient inscriptions of all types have been found, and continue to be discovered across the globe. These have been inscribed in stone, on metal, and many other materials, and all are erroneously attributed to the early art of prehistoric man. For instance, archaeologists immediately label all rock art “Indian petroglyphs” even though they are a world-wide phenomenon with no significant differences from continent to continent, and Indian legend has nothing to offer about their creation. More curiously still, are the various inscriptions found throughout the world which display combinations of characters from many languages. These are directly pronounced “forgeries” by the academicians even though many such inscribed artifacts have been found buried beneath tons of virgin rock. Everything from Latin, Hebrew, Babylonian, Chinese, Norse, Celtic, and some never deciphered scripts have not only been discovered all over the world, but have been found imprinted at the same place and on the same artifacts. Many inscriptions found at one site, show striking parallels to the inscriptions of distant sites. Also, many roman alphabetical characters have been randomly found among collections of “rock art”.

One of the most fascinating aspects of these inscriptions is that they seem to appear, disappear, and/or change on a regular basis. There are many of these instances chronicled in the monumental work entitled, The Rebirth of Pan by Jim Brandon. Many existing inscriptions on artifacts and stones show remarkable differences from the engravings made at the time of their discovery. Some of the open-air art has vanished completely. Many astute researchers have gone out in search of inscriptions and figures well documented by recent and past explorers only to come across absolutely nothing. Several archaeologists are also puzzled by the fact that drawings and rock alignments are continually being found, and that many earlier surveys of sacred sites appeared to be teeming with mistakes – but upon resurveying these sites – the geometry remained in perfect relationship. Brandon also states that the long extinct Mandans of North Dakota had an oracle stone on which figures supposedly appeared the day after a public feast. Tribal shamans then interpreted their meaning. Archaeologist T. H. Lewis recorded Indian traditions of the Upper Minnesota valley such as this:

In olden times there used to be an object that marked the bowlders a night. It could be seen, but its exact shape was indistinct. It would worl making sounds like hammering and occasionally emit a light similar to that of a firefly. After finishing its work it would give one hearty laugh like 1 woman laughing and then disappear. The next morning the Indians would find another pictured bowlder in the vicinity where the object had been seen the night previous.

Also interesting is a blackish substance that accompanies many so-called petroglyphs. This substance, called “desert varnish” is composed of iron and manganese oxides, and oddly, it occurs only where large numbers of petroglyphs appear. It does not uniformly cover the rock panels, but appears to have been “splashed” on right over the inscriptions. Gerry Vassilatos, in his research, has found that compositions of iron and manganese oxides along with carbon, are highly eideto-active and may have alchemical attributes. His amalgam (called the “N-Mixture”) has been used in sundry coatings on radionic and experimental devices with excellent results.

What we are really aiming to reveal with this discussion is that it would appear that these forms of inscriptions are the actual eidetic transmissions of some lost form of communication. The interpretation of such communicative symbology may best be had by trying to recreate such eidographs by various experimental setups such as the Voice Figures of Margaret Watts Hughes. Work is currently in progress by myself and Mr. Vassilatos in this science of Eidography. These experiments involve eidetic communication, eidographic generation, interpretation of eidographs, eidetic substance analysis, eidetic transmutations, and many newly unfolding possibilities. Early experiments in communication over vast distances have proven quite promising. The results of all experiments will be presented in their entirety in upcoming journals.

REFERENCES

1. The Rebirth of Pan by Jim Brandon. FirebirdPress, 1983-o.p.
2. The Eidophone Voice Figures by Margaret Watts Hughes. Borderland Sciences, 1991.
3. The Vril Compendium, Vol. 1 – White Ray Conductors by Gerry Vassilatos. Borderland Sciences, 1993.
4. The Vril Compendium, Vol. 2- Vril Telegraphy by Gerry Vassilatos. Borderland Sciences, 1993.
5. The Vril Compendium, Vol. 3- Vril Linkage by Gerry Vassilatos. Borderland Sciences, 1993.
6. The Vril Compendium, Vol. 4- Vril Archeforms by Gerry Vassilatos. Borderland Sciences, 1993.
7. The Vril Compendium, Vol. 5 – Vril Connection by Gerry Vassilatos. Borderland Sciences, 1993.
8. The Vril Compendium, Vol. 6 – Vril Telephony by Gerry Vassilatos. Borderland Sciences, 1993.
9. The Vril Compendium, Vol. 7- Vril/Dendritic Ground Systems by Gerry Vassilatos. Borderland Sciences, 1993.
10. The Cambridge Encyclopedia of Language by David Crystal. Cambridge University Press, 1987.
11. Unknown Earth –A Handbook of Geological Enigmas by William R Corliss. The Sourcebook Project, 1980.

 

This article was sourced from the Journal of Borderlands Research Volume L, Number 3, Third Quarter 1994

The full volume can be downloaded here: http://bit.ly/33ulHhC

A collection of Journal of Borderlands Research Volumes can be downloaded here: http://bit.ly/2L5cGWo

A collection of Gerry Vassilatos work including the VRIL Compendiums can be downloaded here: http://bit.ly/2LecJzm

Here is more information on the Eidophone with images: http://web.mit.edu/redingtn/www/netadv/SP20140310.html