VORTEX I

Each ring carries nine orbs. A chord is drawn from every orb to the orb n places ahead, where n is the root number. Step three closes after three hops and gives a triangle; step six gives a hexagram; step nine wraps the full ring and gives an enneagram. This is the standard construction for star polygons, written {9/3}, {9/6} and {9/9} in Schläfli notation, and it has been drawn the same way since antiquity.

The visual is bound to the audio, not to a timer. Ring radius and orb brightness are scaled by the live signal level read from the browser’s analyser, so switching a root off makes its geometry fade rather than snap away. The comet trail follows the lead orb of each ring.

Nothing about the geometry is a claim about the sound. Nine points on a circle produce these figures whatever you play through them; the shapes are a readable way to see which roots are running, not evidence of anything.

Sound is a pressure wave. Below roughly 100 Hz you stop hearing it purely as pitch and start feeling it — the chest, the sternum, the surface you’re sitting on. That’s ordinary mechanical coupling: dense media transmit low-frequency vibration more efficiently than air does, which is why a subwoofer moves furniture and a tweeter doesn’t.

Tesla worked this territory from the mechanical side. His 1898 electro-mechanical oscillator experiments on Houston Street are the source of the famous shook-the-building story — a story with no contemporary corroboration, told mainly by Tesla himself decades later and by his biographer. What is solidly documented is the 1899 Colorado Springs season: dated notebooks logging stationary-wave passages in the ground and atmosphere, published in full in 1978. The Schumann resonance near 7.83 Hz — Earth’s electromagnetic cavity mode, calculated by Winfried Schumann in 1952 — sits in the same band TeslaQuake logs as part of its Tesla nodal-resonance study. Linking Tesla’s 1899 observations to it is a reading offered by later scholars, not a claim Tesla made.

The binaural control creates a small frequency offset between your left and right ears; the brain perceives a beat at the difference. It’s a real and well-documented perceptual effect. What that beat does beyond being audible is still debated in the literature, and this page doesn’t claim an answer. Use it because the field is pleasant to sit inside.