This project encompasses an inquiry to my
interest in sound and frequency. The concepts that inform my research and work from
a Western perspective involve particle/wave function with quantum connection
instead of the more static classical. I also am considering the interconnectedness of consciousness and look at Eastern
philosophy
for explanation to the substance of things not seen. Energy is seen in many cultures to reflect
consciousness resonating and creating our own electro magnetic field. With
traditional Chinese medicine this life force is known as qi and with ayurvedic
the lens is constructed in chakras.
The visualization of
study in sound, frequency and harmonics is known as cymatics. Major
contributors include Mathematician Jules Lissajous in the mid 19th century using
small mirrors, vibrating tuning forks and laser lights to produce sine-waves
and influenced the direction of harmonographs. In 1787 physicist and musician
Ernst Chladni found sacred geometry with sand on a vibrating plate and in 1844
Professor Hugh Blackburn with dual pendulums drew pictures of musical harmonics
linking site and sound.
To visualize and explain
this phenomenon we can look at the mathematical Fibonacci sequence to see
vibration and frequency. In a series of experiments conducted using my Tibetan singing
bowl, through friction between the wooden mallet and the metal, multiple
harmonic tones are created. Creating vibration and sound with liquid inside the
bowl I was able to witness the growing wave forces. Theses eventually join in
the center to actually lift tiny droplets out of the bowl.
Using the bowl is an act
ceremoniously used in ritual to start and conclude practices of meditation. The
frequency is seen to ground the state of mind and allow room for consciousness.
My painting structure is informed by the patterns found in the bowl when using
liquid. Through
sacred geometry and the patterns formed through cymatics,
created is an underlying structure where vibrational frequencies act as
our cosmic common denominator.
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