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By Jon Axelrod
       2007-2008
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Visual Art
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            This work is about the structural manipulation of forms that are constructed with clusters of shapes which are in harmonic proportion.  Complexity is built with fragments which are combined to create new sequences that alter the interpretation of forms due to the harmonic and melodic relations of the newly combined images.  It is about intuitive mathematics as visual perfect pitch and how it can recreate inanimate matter.  The ancient practice of imitating sounds with the voice is reinterpreted into the realm of visual art.  Using knowledge learned from the examinations of experimental traverse waves involved in sound engineering, images of forms can be built and distorted with foreshortening and the process's of light and shadow which create the ability to model forms without depicting all sides, in that the mind can fill in the form and see behind what perception can directly perceive.  I believe this imaginary space has an auditory equivalent. I am interested in beauty and how it relates to systems with part to whole relationships.  The limited angles each resist gravity in different configurations and become autonomous potentialities within the picture, not necessarily subjects or symbols.     

 In these works, forms are intended to represent universal thoughts, actions and appearances.  It can be seen as a space which contains time based experiences of controlled change thought the transformation of shape and color.  Geology and Natural History are almost visualized because of the universal forces that are conceptualized.  Forms are created individually within the mind, focused on an audible, gravitational and aerodynamic creative force that shapes materials in unique ways depending on periodic transformations of rigidity and fluid plasticity.  It is a concept that tries to make a link between many fields through the understanding of creation of congruence between the visual arts with an understanding of science. 

 These paintings are individual explorations into various media.  I have been trying to develop links between music, poetry, photography, painting, drawing, sculpture and dance which places my projects within the realm of fine arts with a focus on synesthesia.  I am interested in thought experiments that spread new light onto the creation of images, sounds and words. For many years I have been searching for a connection between the shapes of sound waves and the shape of forms that produced them, a visual parallel that arises between the formal characteristics of the object that produced the wave and the angle of phase of its standing wave.  Another vital phenomenon is the way sound can move objects and isolate discrete materials from a multiplicity.  In this case the movement is provided by the musical stimulus which moves the forms at specific intervals revealing the structure of music within the movements of small objects due to vibration.  Intervals of sudden motion take place as the correlating sound is felt, an example is happens within the body, which is moved according to the congruence between the natural frequency resonance of certain organic materials of the body with sound. 


These paintings depict forms dispersed along a receding surface plane; the shapes can move across the space and are manifestations of fantastical imaginary sculptural counter parts for different frequency bandwidths.   This creates a form of rapid eye movement as the observer matches shape to sound quickly and digressively into an infinite number of pathways depending on the musical sequentially which calls out the name of an object by its natural frequency. 
Musical rhythm is created with a periodicity of arranged voids of silence, separated by tumbling cascades of resonating forms.  Measurement and accuracy of color placement are used to layer forms in an overlap that divides shape into ratios and fragments that create a dense flowing passage of time. A continual division of time into closer and more precise spaces creates a progression of divisions.  The process of moving closer into real space has a musical equivalent that is much like the space of a rigid perspective grid.  The placement of new forms along a sequence creates the idea of movement though a world.  Music has the ability to include and incorporate the full dynamics of sound as a singular yet continuously changing tone.  


    The goal is virtual symphony created with forms that have a specific acoustic resonance.  In these paintings, the shapes come from a choice to visually translate sounds into corresponding forms that amplify the sound.  This phenomena of acoustic amplification without electrical input was discovered by Helmholtz and is called the Helmholtz resonator, it is based on the congruence between a hollow form with a natural frequency and a sound of this frequency that excites the form into motion.  The idea that certain sounds can be described with adjectives such as heavy or light, dry and wet, etc. creates the potential to manifest symbols produced from these words into to the realm of painting and graphic music notation.  Ambiguous instrumental electronic music has an aspect of tactility and physicality that ascribes with immateriality of universality, and the abstract notions that lead towards visual arts.


The depiction of multiple motions and actions within a defined space creates the idea of duration, in some cases a clear pathway is defined but in the finished state the image can be seen as a infinite number of histories that are individual chain reactions of various audible situations.  These sequences can be translated into notations of sound created with these symbols that designate another language, not necessarily music.  There are a number of physical phenomena that can illustrate different harmonic integers with changes that are seen with; density, elasticity, temperature, length, gravity, viscosity, altitude/air pressure, scale, skid, whiz, whirl, plunk, buzz, bounce, snap, click, pop, twang, and shape all affect sound in certain ways.  These can be seen as discrete systems that can be experienced conceptually to visualize sound with harmonic intervals through the physical transformations of matter that alters the resonance of this form. 


    The world is composed of many systems that can become discrete plans for synchronicity and synesthesia.  periodic steps through these systems create visual distinctions of form that allow an object to be differentiated out of a chaos and still be in tune with the other forms while becoming changed due to steps within the internal numerological structure of harmonic integer ratios.  but at the same time there is an unpredictability to sound recognition.  The ways in which beings come to understand relies on the Synchronization of the senses, which links time and space with referents.  These thought experiments are meant to unlock the aspect of extra musical perception that is not describable and cannot be known.  There is a connection between form and shape, however it is not always accurate and the human ear can't always tell precisely what it is hearing.  


    These individual graphic representations of sound and image can be seen as potential paths that the viewer is to inevitably take which are free, however the more an observer knows about extra musical sound phenomena of nature and rhythmic sequencing the more interesting the work becomes.  In this way the image is certainly seen independently as a potential movement, for example.  The more accurate one can perceive of the forces created within the illustration the more one can experience as an observer, in terms of musical form. I am attempting to make an image that depicts the release of sound, sometimes with the shock and contrast of the figure ground relationship.  This creates the thought experiment in which the figure changes shape due to thermal expansion and can break due to shock creating a sound.  Most noise is not a pure tone, yet the are still harmonic steps that can be made from this irregular sound.  The transition through the sonic spectrum creates an interval and a harmonic ratio but not necessarily a pure tone.  The precise alignment of overlapping forms with intervals of density creates a type of harmonic visualization tool.  The ratios 2:1, 3:2, 5:1 can create gradated distinctions of shape.  These relations can be seen as imaginary forms that exist outside of time and space, but could exist none the less and their existence can be drawn upon.

    These images are also intended to be seen as flexible movable abstract organisms that create noise through the motion of joineries.  I am interested in creating images that seem to contain real forms that redistribute from the vibrations caused by acoustic phenomena such as with occilons.  There are motions within nature which create sorting; these collections reveal that the motions of forms presuppose a particular path and a place of rest.  The reorganization of nature due to motion shows that concepts such as collection and organization are not limited to the animate realm.  The illusion that nature as a whole can provide some discretion abet a empirical one, may seem impossible.   Yet there is a separation of elements that a sound can create.  A reorganization of materials according to the resonance of each material and precise laws and motions created by musical dynamic vibrations.   The interaction of the whole is analogous to the interaction of cells, which act and behave independently creating sets and singularities.


          Each form is a new thought with a new pathway through the image.  I am interested in how an image can be a web of connections with gaps at all sides, to be transistors through a network of forms.  When different songs are heard the image can move in particular ways unique to this song based on the order and variability of musical dynamics that activate certain forms and not others.  The work of art can be seen as an organic entity that behaves as a brain, recalling ideas and memories from the sequences of connections. If the mind is composed of many fragments that come together to create tasks, then it is possible to extend this collection outside the mind into a number of thoughts that can be recalled almost instantaneously.  This project expands the mind into a data base for the proliferation of art beyond human potential.  If the modalities of each generation create aesthetic limitations based on the history of creations, then like wise the computer provides a release from the physical constraints of the body and the mind (temporarily).  The speed to which information can be recalled within the mind creates the marvelous creative potential of humans but, verbal discourse alone lacks certain liberties ascribed to writing. 


Painting can allow for a space to unfold an image that changes with regular intervals, collectively as a abstract life form suspended in a painting. The ancient Pagan myth of Orpheus is significant in this regard.  Orpheus was said to bring life into the inanimate and it is through sound that this is accomplished.  I theorize that this is due to the natural property of resonance.  We know that ancient cultures knew of the ability for sound to create inanimate motions.  However, there has yet to be a unified theory for the explanation of animal morphology and wave dynamics.  The myth of Orpheus has also revealed something else, that animals can comprehend music and can be calmed by it.  This is why people make whistling sounds to animals to gain their trust and attention.  I theorize that the acceptance of these sounds by animals reveals their predilection for certain keys.  Which is caused by the acoustic resonance of the environment that is an subtle adaptive force.  I predict that a set of diatonic symbols can be found to be in congruence with the morphological structure of organisms.

 
          Underwater creatures, semi aquatic, terrestrial and avian life forms each developed a way of dealing with noise.   These organisms attain harmony within the environment as a form of sonic adaptive camouflage, by which creatures are naturally selected by the process of elimination and regeneration creating an acoustic convergence between the inanimate materiality of existence and the development and evolution of life forms. Whereby matter at the specific geographic location within the habitat range of a species, within a niche, creates a force of tuning.  Observations of bio-acoustic phenomena also indicate that forms can be seen with echolocation.  However, it is not the resonance of a form that reveals a creature but their reflection within an echo that creates sonar vision.  It may be possible that creatures have keen enough ears to use resonance imaging to detect individual species simply from the sounds of their movements, therefore the adaptive force of bio-acoustic camouflage is revealed.  Considering that motions will have to lead to sound in some instances, when it does, the creature resonates at a pitch that is in a harmonic proportion to the habitat.  Observations indicate that there is an incredibly large amount of different sounds within an ecosystem. 


        I theorize that chains of Harmonic acoustic congruence can be seen stemming from the earth much like an evolutionary tree.  The initial stimulus is provided by the bedrock itself and the resulting soil that creates an evolutionary force which causes the roots of trees to become in tune with the density of the soil.  From these plants and stones, the organisms blossom into a number of forms with unlimited functions but retaining a certain sense of unity to the harmony of the forest.  However this is not to say that the forest will always attain the accuracy of pure tones and normal modes but the intervals of harmonics are relative to each sound not strictly middle c. If we observe the universal recognition of consonance and dissonance we can perceive of each as having a certain value of alarm which reveals organisms behind a cloak of visual camouflage.  This force of tuning can be seen as an idea that is close to the music of the spheres.  In that the cosmological composition of our terrestrial sphere has influenced the acoustic resonance of us and our music.  Many times cultures and peoples have preferred their own instruments to those of other places, this could be due to their affinity with the earth caused by how their music reflects off the surface of soil and stone.   The shape and density of mouth parts can also provide a morphological acoustic connection.  The sounds of the environment entrain the mind to accept and value certain tones over others.  There is a form of acoustic cultural conditioning that is born from the numerological harmony that distorts the voice of individuals subconsciously, in order for their voice to require the lowest amount of energy, the body modifies the tones of sound by micro pitches to be heard from the complexities of noise within the environment, however this force is temporary until another environment causes the voice to be another slightly different pitch.  I hypothesize that the sounds of our footsteps can influence the pitch of the voice, there fore it is the composition of the minerals and stones underfoot that are a filter through which our voice subconsciously and numerically entrained. 


        This idea has a dualistic counter part born from the transition from one to two, when the first bird is joined by another they must separate their tone by a half to sound the most harmonic, out of this ideal harmony are born the other lesser ratios, of which there are many.  As far as we know bird created the first orchestrations on earth, a complex chorus of tones that each interlock with the others to create a symphonic potential that is determined by the ratios of frequencies between birds of different species.  The tones of different birds are both in tune but also distinct to identify their species.  This necessity for distinction is an interesting force that can be compared with the adaptive radiation of creatures in reef environments, where creatures have become distinct in order to be seen in a spiraling frenzy of colorful motion.  Another example is the explosive genetic transformations that happened to humans after we developed cities.  This dualistic force is so entrenched into existence that the ratios of harmonic proportion are all around us, as shown by Pythagoras.  These laws that govern the constructive potential of dynamical systems create the fact that: Complexity necessitates musical proportion and accuracy of measure in order to synthesize a dynamic unity of observably distinct parts.  There fore the dynamics of art is greatly a matter of combining harmonic intervals of distinct parts.  The idea that observation must precede distinction reveals the perceptual limitations of understanding, there by placing sensitivity as the highest aesthetic virtue.  However, without the direction of an independent and free choice the sensitivity could be of little use dynamically speaking.  This independent sensitivity creates the ability to move through a bandwidth of these distinctions out side the mere conditionings of one geographic region.  However, the incorporation of sounds from the environment reveals how the mind can benefit from the sounds and noises of the world by learning and remembering sequences of motion that result in noise, even arbitrary noise will teach a musician another direction for the mind to move.  This introduces the thought that the mind and the imagination can be formed through the storage of sounds and not necessarily images or more complex ideological constructs.  Sound is a type of energy that enables the body to comprehend without having a memory of it, the brain stores information about certain sounds, not what the sound sounds like per se but what the potential source is or was, its existence signifies the actualization of a dream.  The mind has the ability to connect images with words in such a way that n break down the perceptual constructs.  This is similar to scrambling an image which can alter the same materials into a new construction of unidentifiable origin.  The body does not seem to  have difficulty picking out the individual tones from chords or recognizing chords as separate entities.  

       
        The dialogs of music theory and non-objective art are quite linked indeed.  I believe that there are certain observed valuations that can be distilled from every day experience and quantified into a musical writing system.  Certain images can be used as counting tools for the recording of time fractions.  Rotation, quantity, shape, and quantity of openings have been used to designate musical constructs such as duration/quantity, diatonic notes/shape, rests/rotation, and openings/octave.  The language itself was manifested in order to separate from digital devices for midi.  It is a form art manifesto that is outside the computer and therefore not initially dependent on external devices, but the drawing is used to program the computer to record complex musical phrases later. It can provide a nonverbal immaterial experience whereby the shape becomes a symbol in the mind for the sound.  This hypothetical shape will oscillate at a regular mode so as to create a type of attribute that will allow the form to develop and grow certain angles that correspond with the phase angle of a standing wave at this frequency.  This angle provides the constructive limitation as well as an arc by which forms can be extended and built upon.  The marks that collectively create one substance each abide by certain laws phase repetition and wave analysis.  The transformation of the exponential scalar property of waves into a single macro experience, creates the possibility to visualize traverse waves as simply angles in relation to the horizontal and vertical axis of a vibrating object in motion. Gravity is the 90 degree angle to which the plasticity of life is tested.  The highest frequency possible is the one by which the angle of phase is closest to 90 degrees.
       
        The musical patterns unleashed by computers in recent years have shown the surprisingly deep well of unexplored terrain into logically asymmetrical sequences.  The geometric monster that has grown from a place where order and disorder has never been so close, it negates the grid that music is traditionally unfolded upon.  The question then becomes what happens to the written music?  The software interface has replaced the ink of a pen.  This has worked for a short while, but I believe radically new languages for music notation will be created in order for the artist to write the same sorts of sequences that only a computer would play back.  A Symbolic construct must be used to designate certain sounds hat there is no instrument for.  The incredibly small fractions of time and irrational time signatures make reading music with traditional notation methods confusing and hard to follow.  The complexity of today's musical phrasing either requires a spontaneous improvisation or a recording devise.  Truly free music is written once and requires the same playback devise, because each time a performance is played it is different and therefore its continuity is somewhat inexistent.  Also, there are physical limitations to what the body is able to play, and this has held music in place for a while.  The computer emancipates the mind body bond and allows the mental reflexes and imagination to travel far into the unknown.