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Sound VisionPatterns of Vibration

in

Sound, Symbols and the Body

A Thesis submitted in partial fulfilment of the Master of Design

Rachael Linton

Institute of

Communication Design

Massey University

Wellington

New Zealand2008

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Abstract

Historical and contemporary views such as those held within Buddhist and Hindu religion

support the idea that sound, colour and form in motion have the ability to alter physiological

and psychological aspects of human function. Within these religions distinctive singing and

meditation techniques are used to aid concentration, calm and balance the mind and soothethe body. A meditative technique adopted by Hindu and Buddhist practitioners is to draw

the mind into a centred point of focus, blocking out external distractions that inhibit

concentration. The sound based meditation Om, for example, is a most powerful mantra,

capable of healing and elevating consciousness (Beck, 1995). Vocal sounding and chant as

well as gazing at or visualising images are techniques that have been utilised in ancient

religious practice to aid people to develop their natural capabilities to shift energy within

body and mind.

Contemporary neuroscientists are interested in the states of mind that Buddhist monks claim

to enter into while sounding. Equipped with technology for analysing brainwave activity,experiments have revealed that electromagnetic stimuli such as sound, light and colour can

affect the practitioners brain and mind. Researchers have developed new therapeutic tools

and techniques to benefit the health and well-being of individuals.

This thesis traces the therapeutic use of sound, light, colour and form in motion from ancient

Hindu and Buddhist religion into its use in complementary therapy. Sound Vision is the film

which fulfils the practical component of this research. Inspired by the visual form and

motion of sound this thesis contemplates: if we could see sound, what would it look like and

could those images function as a healing art form? Sound Vision translates ancient and

contemporary techniques of therapy into a digital audio/visual medium to function as visualtherapy and aid for meditation.

The themes of this research are foremost to visualise sound and secondly to deduce aspects

of sound and vision that have therapeutic qualities. Chapter three of this thesis thematically

outlines qualities of sound that have been found to be capable of exciting or calming its

listener. The same process has been applied for vision, specifically how light and colour effect

its viewer as well as form in motion.

An interim presentation of the preliminary film, Dance of Light, was exhibited in November

2008 where formative feedback was gained through unobtrusive observation and discussionswith viewers towards the development ofSound Vision. Aspects of the film were found to

provoke feelings of unease and tension while other aspects incited focus and calm.

Sound Vision, serves as a prototype for applied healing that may be capable of creating

positive physical and psychological changes within its viewer. Although it employs methods

and techniques recognised with capacity for healing change, the next step is to technically

test Sound Vision to discover its potential.

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Acknowledgements

Thanks to everyone who has contributed to the creation ofSound Vision.

My key crew, Linda Joy, Edward van Son, Beth Williams, Thomas Murphy and Andrew

Robinson, who danced and sang for me, assisted in filming and experiments, taught me

about music, physics and chemistry and who have offered invaluable guidance and support.

William Galpin and Reuben Wood with whom I exhibited at the

James Wallace Art Trust Gallery in Auckland.

Bronwyn Patterson who made the silver dress.

Sound and performance artists Hannah, Warwick, Duncan,

Griff, Jack, Monica and Margaret.

Hillary Philips and Barbara Bee who have helped with the written component of this thesis

My family, Gillian, Michael and Steven Linton for their love and support.

Thanks also to my academic and technical advisors

Patricia Thomas and Gray Hodgkinson,

Keir Husson and Durgesh Patel.

Thank you

Fanotron for allowing me to film the cymatics during the

Wellington Fringe Festival in Febuary 2008.

Yvonne Mackay and the Production Shed. TV for allowing me to interview

Richard Nunns at your studio and for the collaboration on the title sequence for The Silence

is Over, Taonga Puoro in August 2008.

The New Zealand Film Archive for allowing me to film

Art Nomade during their show in September 2008.

Enjoy public art gallery for allowing me to film

Tony Nicholls during his show, Aletheia in October 2008.

James Wallace Art Trust Gallery for allowing me to exhibit the conceptual

artwork towards Sound Vision in order to gain constructive feedback from viewers in

November 2008.

The Medieval Mosaic Ltd for allowing me to film the Magic Cube.

Cover Image

Hindu power diagram

Sri Yantra

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Table of Contents

Identifying information . . . . . . . . . . . i

Abstract . . . . . . . . . . . . . . . . . . . . . ii

Acknowledgements . . . . . . . . . . . iii

Contents . . . . . . . . . . . . . . . . . . iv

List of Figures . . . . . . . . . . . . vi

Chapter One 9

1.1 Introduction . . . . . . . 9

1.1.1 Vibrational therapies . . . . . . 9

1.1.2 The form of sound . . . . . . 9

1.1.3 Inspiration for this thesis . . . . . . 11

1.2 Central proposition . . . . . . 11

1.3 Research aims and questions . . . . . 12

1.3.1 What does sound look like? . . . . . 12

1.3.2 Can visual sound be therapeutic? . . . . . 131.3.3 Auditory and visual techniques towards focus, calm and balance . 13

Chapter Two 14

2 Background Research

2.1 Audio - Sound . . . . . . . 14

2.1.1 Techniques of singing that soothe and incite focus . . . 14

2.1.2 Om neuroscience? . . . . . . 17

2.1.3 Binaural beating and neuro-integration . . . . 18

2.1.4 Correspondences of musical notes to colour and form . . 20

2.2 Visual - Light & colour . . . . . . 21

2.2.1 Colour . . . . . . . . 21

2.2.2 Psychological colour harmonies . . . . . 22

2.2.3 The therapeutic effects of colour and flickering light . . 24

2.2.4 Seeing colour . . . . . . . 26

2.3 Visual - Form, motion & the body . . . . 27

2.3.1 Form and motion . . . . . . 27

2.3.2 Cymatics . . . . . . . 28

2.3.3 Waveguide modes & laser light . . . . . 29

2.3.4 Mandala . . . . . . . 31

2.3.5 Yantra . . . . . . . . 322.3.6 Kundalini & chakras . . . . . . 32

2.3.7 The body in spiritual form & motion . . . . 34

2.3.8 Geometric shapes & emotional states . . . . 35

2.4 Artist case study Arte Nomade . . . . 36

Chapter Three 37

3 Methods & Processes

3.1 Video as the medium . . . . . . 37

3.2 Dance of Light & Exhibition . . . . . 39

3.3 Detail of experimental filmic visual concepts / Dance of light . 41

3.3.1 Cymatics . . . . . . . 41

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3.3.2 Crystal spinning . . . . . . . 42

3.3.3 Rhythmic figures turning . . . . . 42

3.3.4 Mandala dancers . . . . . . 43

3.3.5 Painting series . . . . . . . 44

3.3.6 Red-green triangle . . . . . . 45

3.3.7 Glitter fan . . . . . . . 46

3.3.8 Painting with water . . . . . . 46

3.3.9 Vibrating strings . . . . . . . 47

3.3.10 Guitar string . . . . . . . 473.3.11 Smoke . . . . . . . . 48

3.3.12 Circle of light . . . . . . . 49

3.3.13 Crystal cube . . . . . . . 49

3.3.14 Spinning shapes . . . . . . . 50

3.3.15 Sequined coloured cloth . . . . . . 50

3.3.16 Silver dress . . . . . . . 51

3.4 Outcome of exhibition process . . . . . 52

Chapter Four 524 Sound Vision the film

4.1 Sound in Sound Vision . . . . . . 53

4.2 Compositional structure of Sound Vision. . . . . 54

4.3 What is spiritual & scientific about this work? . . . 55

4.4 Preparation & setting for viewer . . . . . 55

Chapter Five 57

5.1 Conclusion . . . . . . . 57

5.2 Glossary . . . . . . . 58

5.3 Bibliography . . . . . . . 59

5.4 Appendix . . . . . . . 63

1. Four categories of brainwave states2. Attributes of colour

3. Stanley Linton -Psychological harmonies

-Form and motion of electromagnetic phenomena

4. Colour harmony variations quick reference

Chapter Six inside back cover

Practical Component DVDs

6.1 Dance of light - concept ideas in the form of film clips - 30min

6.2 Sound Vision -final film - 20min

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List of Figures

Figure 1: Pythagorean view of the universe in musical intervals. p. 506 Gregory, R.

(1987). The oxford companion to the mind. Oxford, USA, Oxford university

press.

Figure 2: Om symbol.

Figure 3: Buddhist monk with EEG to test brainwave activity during meditation.

Image Retrieved October 6, 2008 from

http://www.mindupdate.com/?cat=12.

Figure 4: Newton's color circle, showing the colors correlated with musical notes and

symbols for the planets. Newton (1704) Opticks. Retrieved May 20, 2008

from

Source:http://posner.library.cmu.edu/Posner/books/book.cgi?call=535_

N56O_1704.

Figure 5: Smither, M. (2008). The colours of 12 sounds. Auckland, New Zealand,Artis Gallery.

Figure 6: Coghill, R. (2000), Soap bubble.

Figure 7: Visible light frequencies of the electromagnetic spectrum.

Figure 8: Linton, R. (2008), A Matter of Perception.

Figure 9: Itten, J. (1961), 12 hue colour circle.

Figure 10: Reference diagram for the selection of Hues.

Figure 11: Pancoast, 1877,Fashionable lady bathing in red and blue light.

Figure 12: Variable frequency photo-stimulation goggles.

Figure 13: Hannover, 1843, Hand drawing of the retina of a frog. (Hannover, A. -

Vid. Sel. Naturv. Og Math. Sk. X, 1843).

Figure 14: Longitudinal modes of Vibration. Retrieved September 20, 2008 from

http://upload.wikimedia.org/wikipedia/commons/c/c5/

Harmonic_partials_on_strings.svg.

Figure 15: Tony Nicholas Designer, Rachael Linton Photographer, 2008, Standing wave

in a vibrating string.

Figure 16: Transverse waveguide modes. Paschotta, R. (2008).Encyclopedia of laser

physics and technology. Berlin, Wiley-VCH. Retrieved July 28, 2008 from

http://www.rp-photonics.com/waveguides.html.

Figure 17: Lauterwasser, A. (2007). Water Sound Images: The Creative Music of the

Universe, States of an oscillating hydrogen atom, depicted here as a cross

section through the center of the atom, p. 96.

Figure 18: Khanna, 1979, Sri Yantra formed by the sound Om, p.116.

Figure 19: Electromagnetic correspondences between the body, sound, light/colour

and form.

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Figure 20: Figure 20: Teobius, 2008, Whirling Dervishes, Retrieved December 10,

2008 from

http://flickr.com/photos/teobius/2494578730/in/photostream/.

Figure 21: Art Nomade, Designer, ( Rachael Linton, 2008, Photographer),

Imagery from Arte Nomades digital/audio performance.

Figure 22: Mary Ellen Bute. (1936). Synchromy no. 2. Retrieved October 4, 2008

from

Retrieve http://www.youtube.com/watch?v=dtWs8ntOQC0.

Figure 23: Oskar Fischinger,Early Abstractions (1946) -5 Pt. Retrieved October 4,

2008 from http://www.youtube.com/watch?v=RrZxw1Jb9vA.

Figure 24: Harry Smith. (1946-57).Early Abstractions, Pt. Retrieved October 4, 2008

from http://www.youtube.com/watch?v=-wYJ51nSXRQ.

Figure 25: Norman McLaren. (1951).Pen Point Percussion. Retrieved October 4,

2008 from http://www.youtube.com/watch?v=Q0vgZv_JWfM.

Figure 26: James Whitney, Yantra (1957). Retrieved October 4, 2008 from

http://www.youtube.com/watch?v=nvWwlZSXaR0&feature=related.

Figure 27: John Whitney "Catalog" (1961). Retrieved October 4, 2008 from

http://www.youtube.com/watch?v=TbV7loKp69s&feature=related.

Figure 28: Len Lye (1935).A colour box Retrieved September 23, 2008 from

http://www.archive.org/details/A_Colour_Box.

Figure 29: Rachael Linton, 2008, Exhibition opening at James Wallace Arts Trust

Gallery, Auckland.

Figure 30: Rachael Linton, 2008, Small theatre in whichDance of Light was exhibited.

Figure 31: Rachael Linton, 2008, Cymatics fromDance of Light.

Figure 32: Rachael Linton, 2008, Crystal Spinning fromDance of Light.

Figure 33: Rachael Linton, 2008, Rhythmic figures turning fromDance of Light.

Figure 34: Rachael Linton, 2008,Mandala dancers fromDance of Light.

Figure 35: Rachael Linton, 2008, Paintings turning fromDance of Light.

Figure 36: Rachael Linton, 2008, Hildegards vision, Gouache on paper.

Figure 37: Rachael Linton, 2008,Atomic, Gouache on paper.

Figure 38: Rachael Linton, 2008, Red/green triangle fromDance of Light.

Figure 39: Rachael Linton, 2008, Glitterfan fromDance of Light.

Figure 40: Rachael Linton, 2008, Painting with water fromDance of Light.

Figure 41: Tony Nichollas Designer, Rachael Linton, 2008, Photography. Vibrating

strings fromDance of Light.

Figure 42: Rachael Linton, 2008, Guitar string fromDance of Light.

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Figure 43: Rachael Linton Designer, 2008, Commissioned by ProductionShed.TV,

Title sequence for The Silence is Over, Taonga Puoro.

Figure 44: Rachael Linton, 2008, Circle of Light fromDance of Light.

Figure 45: Rachael Linton, 2008, Magic Cube fromDance of Light.

Figure 46: Rachael Linton, 2008, Spinning shapes fromDance of Light.

Figure 47: Rachael Linton, 2008, Sequined coloured cloth fromDance of Light.

Figure 48: Rachael Linton, 2008, Silver Dress.

Figure 49: Rachael Linton, 2008, Vocalising musicians Edward van Son, Linda Joy,

Hannah and Warwick in the Great Hall, Massey University, Wellington.

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Chapter One *

1.1 Introduction1.1.1 VIBRATIONAL THERAPIES

Vibrational therapy is becoming an increasingly popular choice in contemporary medicine forpatients suffering from psychological and neurological disorders such as attention deficithyperactivity disorder (ADHD), addictions, anxiety, dementia, migraines, pain, premenstrualsyndrome (PMS), post traumatic stress disorder, stroke complications and more (Pigott, 2006).In neurological studies carried out by Christopher Barber (1999), Brian Brady (1997),Len Oschs (1994) and others, testify that the electromagnetic vibrations of sound and light cancreate physical and psychological changes in humans.

As early as 1900, experimental psychologist Pierre Janet discovered that strobe light could be

soothing to patients (Pigott, 2006). This work was backed up by Gysin who qualified that lightand colour could be organised in specific moving patterns to stimulate or soothed humanphysiological and/or psychological systems. Similarly, flashing light can entrain (see glossary)

brainwaves (Anderson, 1989). Interacting dual vibrating frequencies have been recognised asthe action that creates effective change. Robert Monroe developed this concept in 1975 when heused pulsating rhythmic sounds, otherwise known as binaural beating, to entrain brainwaves.EEG neurointegration is a contemporary system that combines light stimulation and binaural

beat techniques into a tool for healing. Although neurointegration has been found to be capableof a variety of therapeutic effects it may not particularly desirable because of its mechanical andcomputer generated nature. Sound Vision presents an audio visual experience with aesthetic

pleasantry which is captivating and enjoyable to watch, while utilising rhythmic pulsingtechniques which may have effects similar to neurointegration.

1.1.2 THE FORM OF SOUND

Since ancient times philosophers, mystics, scientists and artists have attempted to provideillustrative interpretations of how they envision sound. Pythagoras linear geometry (James,

1993), Kandinskys abstract symbols (Leggio, 2002) and Hans Jennys sonorous photographs(Jenny, 2001), visually interpret sound, a phenomena which cannot physically be seen.Interestingly, there are structural and aesthetic similarities within their artwork, especiallygeometric circles, squares and triangular shapes. Speculation that sounds are waves, propagatedin air was raised by Aristotle (384-322 BC) in the 4th century BC as he observed wave motionin water (Caleon, Subramaniam, 2007, p. 174). Aristotle and Pythagoras (c.580-c.500 BC)emphasised that the generation of sound was produced when the air is set in motion by, forexample, a vibrating string (Caleon, Subramaniam, 2007, p. 174). Pythagoras, who is credited

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to have laid down the fundamental principles of the nature of sound, conducted many scientificinvestigations with various vibrating objects. He described sound using mathematical ratios and

was the first to scientifically calculate the generation of sound by vibrating force (Caleon,Subramaniam, 2007, p. 174). Figure 1 shows the Pythagorean view of the universe,harmonically distributed in musical intervals.

On July 8, 1680, Robert Hooke (1635 - 1703), an English natural philosopher andpolymath broke the visible sound barrier (Volk, 2008), when he spread flour on a glassplate and passed a violin bow along its edge. As he did so Hooke noticed the flourconfigured itself into oval shapes and reoriented itself on the surface as he bowed the platein different ways. Ernst Chladni and Margaret Watts Hughes continued experiments,forming visual patterns based upon Hookes methods and in the 1950s cymatics emerged

as a distinct discipline. Hans Jenny coined the term cymatics (kymatics in German) fromthe Greekword kyma (pertaining to waves), when he published Cymatics: The Study ofWave Phenomena in 1967. These were the experimenters who initiated inquiry into thescience of cymatics and who found wonder in the changing patterns as matter became

animated to sound.

John Stuart Reid is a current leader in the field of cymatics which features as a major topic inthis thesis. Reid continues to develop ideas set in place by early thinkers by investigatingformations visible in water. If we could see sound, Reid says, it would resemble resonatingspherical bubbles of holographic like energy perpetuating away from its point of creation,expanding in size and lessening in intensity as it reaches further from its epicentre (Reid, 2007).Contained within the sound bubble we may see a lattice framework of geometric shapes,

writhing in motion containing all the fundamental forms in three dimensions. Within theseresonating shapes the data that describes the sound such as the tone, frequency, pitch, timbre,resonance and volume, oscillate and undulate in perfect uniformity. John Stuart Reid is anEnglish acoustics engineer, scientist and inventor who, with 30 years of researching sound ledhim to the invention of the CymaScope, a 21st century tool that transforms sound intogeometric patterns which can be seen and is providing breakthroughs in acoustic science, sonar,linguistics and speech therapy. This thesis builds upon Reids creative descriptions of what

sound looks like.

Figure 1: Pythagorean view of the universe in musical intervals.

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1.1.3 INSPIRATION FOR THE THESIS

The inspiration for this thesis came one day as I played a flamenco guitar and observed a visualvibrating sound. I saw, within the vibration of a silver string, brilliant red and green colour.Green fluctuated from top to bottom while red oscillated in complementary motion to the green

from bottom to top. The colours moved distinctly, passed and through each other in anoscillatory motion and created another, third pattern in their wake. As I studied papers on theinteraction of light frequencies and the brain, I formed the hypothesis that phantom colour wascreated through the interaction of vibrating frequencies; one of which was the vibrating stringand the other was the vibrating frequency of the flourescent lights I was sitting beneath whileplaying.

As I researched further into the effects created by interacting vibrational frequencies in soundand light it was Goethes concept (1810) that I became most interested in: that neither sound

nor light is perceptible to the human without the human consciousness to perceive it. Humanpsychology and perception, consciousness alongside brainwaves, the brain and body soon

became clear components of this thesis. The work of Deak (1990), Campbell (1995), Demarco& Clarke (2001), Barber (1999), Anderson(1989), Khalsa (2001), Hollwich (1979), Pigott(2006) and Oschs, L. (1994) made me interested in rhythm, repetition, harmony, rates of

vibration and how brainwaves function at vibrational frequencies. I wondered, what mighthappen when external electromagnetic frequencies of sound and light interact with human

biological frequencies?

This thesis builds upon the work of artists and neuroscientists who focus on the visualization ofsound in order to benefit health and wellbeing. From the perspective that vocal sound can behealing Margaret Deak (1990), Jean Holroyd (2003) and Matthiew Ricard (2004) used their

expertise in song, hypnosis and mediation respectively, to make worthy contributions in usingthe voice to focus attention towards positive healing outcomes. In order to highlight howphysiological and psychological changes can be incurred through vocal sounding, the theories ofkey philosophers and spiritual systems are explored. Margaret Deak suggests that the voice

alone may be able to function as the bodys own internal tuning mechanism (Deak 1990).

1.2 Central PropositionThis thesis explores the frequencies of sound, light, colour and form in motion which can be

utilised to interact with human biological frequencies. In response to sense stimulus such assound and coloured light, the human body may respond both physiologically andpsychologically to facilitate changes towards better health and well being. Sound Vision employssound and visual techniques that have been used within ancient healing traditions as well ascontemporary therapy, for the purpose of healing.

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1.3 Research Aims and QuestionsWhat does sound look like?

Could the visual form of sound be therapeutic?

The primary research aim is to determine if sound, colour, form and motion could havetherapeutic effects such as pain relief, calming and focusing.

1.3.1 WHAT DOES SOUND LOOK LIKE?

Historical research has been employed to explore ancient visual images that convey sound,energetic vibration and wave motion. Ritual symbols such as the Sri Yantra for example, usedfor meditation in Hindu religion, have remarkable resemblance to current visualizations ofsound. Early thinkers such as Plato, Aristotle, Pythagoras, Newton and Goethe were interested

in sound and developed the theoretical foundations on which contemporary thinkers continue todevelop today (Boyce-Tillman, 2000., Campbell, 2000., Volk, 2008). Cymatics is the study of

wave phenomena and is a popular new and advancing field of scientific research whichexpresses sound as a phenomenon with a direct visual counterpart. Cymatics shows forms inmotion, created by sound which vibrates matter such as water and sand into geometricformations. Newton and Goethe proposed that sound also had direct correlations with thecolour properties of light. The early philosophers drew relationships between sound and colour

because frequencies exist on the same electromagnetic scale. The human ear can sense soundsbetween 20-20,000 Hertz (Hz) and therefore occupies that section of the electromagneticspectrum. Colour or visible light is the section of the electromagnetic spectrum to which the eye

is sensitive, which is between 400 to 700 nanometre (nm).

Instead of calculating the harmonic intervals mathematically to transpose sound into colourvibration, I have taken a Goethean perspective which considers that it is via human sense thatwe perceive sound and colour. By determining the emotion and psychological response thatsound and colour distinctly incite, parallels between them have been drawn. For example:

What sounds facilitate calm and soothing effects?What colours facilitate calm and soothing effects?

TheBackground research, Chapter 2.1 on Sound outlines the aspects of sound noted to induceemotion/psychological responses from ancient to contemporary.

On the electromagnetic scale, brainwaves are situated in what is called extremely lowfrequencies (ELF), between 3-40 Hz. Brainwaves are electrical wave patterns set up byneurochemical activity within the living brain (Brady, 1997). Brainwaves inside the brainphysically influence neurochemicals to cause emotional and psychological responses.

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Vibrational therapy is a field of medicine that utilises electromagnetic waveforms such as soundand light to alter biological waveforms such as brainwaves and cellular function. These therapieshave been carried out by Oschs (1994), Barber (1999), Monroe (Lewis, Osborn, Ram Roth,2004) and Pigott ( 2006).

1.3.2 CAN VISUAL SOUND BE THERAPEUTIC?

Chapter 2.2 onLight & colouroutlines Goethe, Pancoast, Kandinsky and Ittens contributionsto the development of emotional, psychological and therapeutic aspects of light and colour.Contemporary use of light and colour within vibrational medicine are also outlined. Chapter 2.3on Form, motion and the body investigates examples of visual images of sound and energetic

vibration. Ancient ritual symbols are compared with modern scientific investigations of whatsound looks like, symbols that are also said to have therapeutic qualities. This chapter defines atherapeutic image: compositional placement of pictorial elements arranged in a way that isaesthetically harmonious to the viewer. This takes into consideration the emotional and

psychological effect of the objects of visual sense, light, colour and form in motion.

1.3.3 AUDITORY AND VISUAL TECHNIQUES TOWARDS FOCUS, CALM AND

BALANCE

Chapter 3.3 is a detailed description of films, created with the intention of being harmonious tohuman perception. How the invigorating or harmonious aspects (outlined in Chapter Two),have been applied to film are described in Chapter Three. The preliminary film,Dance of Light,shows a series of these films which apply properties of sound, light and colour to digital video.

The techniques employed aim to create emotional/psychological response within the viewer.

An understanding of the aural and optic senses was gained so that aspects of sound, light,colour and form in motion could be applied to gain emotional/psychological response.

Fulfillment of these research aims has enabled me to create visual melody, rhythmic pattern andharmony for therapy using sound, light, colour and form in motion in film.

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Chapter Two

2. Background Research

2.1 Audio - Sound

2.1.1 TECHNIQUES OF SINGING THAT SOOTHE AND INCITE FOCUS

In many mythological creation stories, existence came into being through sound. InSanskrit, Nada Brahman translates to: the worldissound, God is sound or sound is divine,and that sound which was responsible for all creation was Om. From the first spark of life,Prana (life air) sparks with the Agni (fire) in the body of the singer to create audible sound

(Beck, 1995, p. 39).

Hindu and Buddhist practitioners are well aware of the sonic effects of vibration for the purposeof healing. Mantra (see glossary), chanting, overtone singing, Gregorian chant and Tuvanthroat singing are all techniques which have been recognised and used in Sound Vision to aidthe practitioner to block out external distractions in order to maintain focus. Human vocalsounds in particular have been utilised in Sound Visionto entice the observer to relax. Delvingdeep into their consciousness to focus on the self was a concept the Brahmanas (Vedic priestsand seers) taught their devotees and to orient their senses of perception towards the inneracoustic space of the unseen (Beck, 1995 p. 23). The sound Om otherwise known as Pravasignifies liberation and is the most prevalent vocalic symbol of sacred sound throughout theentire Vedic, yoga and Hindu traditions. Om has been the cynosure of religious chant up to the

present day (Beck, p. 9). Buddhist adepts of sound, chant Om, a syllable they consider to besacred for its ability to draw the practitioner into a meditative state, bringing focus andconcentration. As a chant, the sound Om is voiced in three parts, A, U, M and intends to leadthe adept towards their highest faculty of consciousness. A stands for the waking state of

consciousness, U for the dream state of consciousness and M for the deep sleep phase ofconsciousness.

Meditation and chanting, like light and colour, are all methods used within complementarymedicine today to create emotional, neurological and physical changes. External stimuli, like

sound, light and colour can interfere with and/or cancel out other incoming sense stimulus and

can clear thought activity (Ellingson,1979, p. 149). Sounds can also modulate simultaneouschanges in the autonomic, immune, endocrine, and neuropeptide systems (Campbell, 2000, p.148). Elocution and phonetic treatment are regarded to be important factors when attemptingto achieve desired brain-mind outcomes. Kay Gardner (1941-2002), was a musician, composer,author, and musical producer involved in creating music for healing purposes. Gardneridentifies drone, repetition, harmonics, harmony, vibration, vibrato, melody, resonance, rhythmand beat as musical elements which can psychologically impact on humans (Gardner 1990, pp.

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227-229 cited by Bergquist, 1997). Some sounds can be produced in a resonant and nasalmanner while others are full and resonant. In mantra yoga there is an art of chanting whereprecise mouth postures (formants) and repetition of exact intervals. The sound, if created withclear intent and execution can elevate the perceptual sensitivity of the performer, transformingtheir sensibility, way of thinking, state of soul and moral character. All vowels should bepronounced strong and sonant and with the thought affirmation of intent (Beck, 1995, p. 27).

If the phoneme is properly constructed with the mouth, a plethora of harmonics can be created,which vibrate within the practitioner a sensation beyond standard perception.

The mantric energy condensed in the Sanskrit chakra letters is seen as vested with aspiritual power beyond human comprehension. Pronounced correctly, joined and

with the correct rhythm, accent, intonation and mental attitude a mantra becomes thesoul of the yantra, utilising forces within the mind of the seeker (Khanna, 1979).

Figure 2: Om symbol.

As a visual symbol the letter Om often appears on Yantra and Mandala to instruct thepractitioner to tone the sound Om. Figure 2 shows the symbol Om, of which the differentparts of the form signify different metaphorical concepts. The Bindu or dot at the top is theorigin point and means silence and focus, it is a diacritic sign which instructs that theprevious vowel should sound nasalised. In meditation the practitioner is guided towardspositing their psychological awareness upon centres in their body, namely the chakras,

whilst repeating the sound. Chakra translates to wheel or circle and in traditional Hinduand Buddhist healing therapies are the main healing energy centres. Today complementarytherapies such as acupuncture, Shiatsu (pressure point acupuncture) and colour puncture

(a kind of acupuncture that uses coloured lights), follow the chakra energy system. Theplacement of the chakras corresponds to harmonic divisions within the human body andthe symbols which represent those centres are shapes like Yantras, Mandalas and cymatics.The common denominator between these three visual themes is harmonic distribution

which occurs naturally in vibration.

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The technique of Tuvan throat singing aims to use deep and controlled resonation of the throat,glottis, mouth and lips to produce harmonic overtones. These overtones vibrate the skull in

ways that normal singing doesn't, reaching deeper into the brain. Research confirms thatovertone singing affects the cranium and the entire brain, balancing the left and righthemispheres, influencing the respiratory system, the spinal fluid and Kundalini energy (Schelde,2006. p. 88). Overtone harmonics are also produced during the sound meditation of Buddhistpractitioners who chant Om. Benedictine monks chant from 6-8 hours a dayin order tocharge themselves (Wilson cited in Campbell, 1991, p. 13). Recognised for his experimental

breakthroughs in the field of auditory neuropsychology it was the French physician AlfredTomatis (1991) who revealed that: Sounds can charge the central nervous system and thecerebral cortex with energy (Tomatis, quoted in Boyce-Tillman, 2000, p. 194), just likecharging up a battery with energy. Sound charges the brain, especially the neocortex which is

involved in our higher functions such as sensory perception, generation ofmotor commands,spatial reasoning, conscious thought and, in humans, language(Tomatis cited in Campbell,2000, p. 17). It is for this reason that the sounds of Gregorian chant are uniquely, a fantastic

energy food (Tomatis, cited by Gilmor, Madaule, & Thompson, 1989).

Tomatis made the link between auditory and visual cognition when he noticed a similarity ofsymptoms exhibited by hearing impaired factory workers and the scotomas (spots before theireyes) suffered by opera singers. Tomatis formulated the law describing the feedback loop

between the larynx and the ear where one can produce vocally only those sounds the human ear

is capable of detecting (Weeks cited in Campbell, 1991, p. 42). This discovery becamerecognised as the Tomatis Effect. Gregorian chant for example contains all the frequencies ofthe voice spectrum from 70 cycles per second up to 9,000 cycles per second (Tomatis cited inCampbell, 2000, p. 18).

If one listens very carefully to Gregorian chant they will notice that it follows the beat of a calmheart, the rhythm of a tranquil heartbeat, systole and diastole (Campbell, 2000, pp. 20-21). InGregorian chant or plainchant there is no tempo, there is only rhythm (Campbell, 2000, p. 19).The sound created follows the relaxed and natural rhythms of the singers body who takes long

slow deep breaths in to sound long, slow, powerful notes out.

If you look closely at the Gregorian inflection, if you take Alleluia for example, youhave the impression that the subject never breathes. This slowest possible breathing isa sort of respiratory yoga, which means that the subject must be in a state of absolutetranquillity in order to be able to do it. And by inducing the listener to enter into thesame deep breathing, you lead him little by little to something of the same tranquillity(Tomatis cited in Campbell, 2000, p. 19).

Deak suggests that the voice alone may be able to function as the bodys own internal tuning

mechanism (Deak, 1990). Deak offers techniques that can be used to overcome emotional

depression through sound intonation. She cites that in the role of health maintenance, vocalexpression can increase vigour and reduce stress by lowering blood pressure

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2.1.2 OM NEUROSCIENCE?

In the last 10 to 20 years interest in the field of energy medicine has blossomed as doctors ofmedicine, neuroscientists and quantum physicists have teamed up with Buddhist meditators andother singers to measure how their brains change when they sound. Frequencies of colour

vibration too, and its affect upon ones brain-mind (Stafford, 2007, p. 106) have been mappedand measured using a variety of brainwave analysis technologies. Scientists studying long-termBuddhist practitioners of sound (Om) meditation and Glossolalia singers useelectroencephalography (EEG) and magnetic resonance imaging (MRI) to provide pictures anddata of the brain as it is effected by sound. These tools enable minute analysis of the physical

blood flow, chemical and electrical activity of the brain.

Appendix 1 shows the brainwave frequencies along with associated emotional traits thatcorrespond with those frequencies. When certain frequencies are reached and sustained the

brain produces hormones such as serotonin and melatonin which in turn affect emotions.

It has been found that long-term meditators can self-induce high amplitude brainwavesynchrony during mental practice (Lutz, Greischar, Rawlings, Ricard & Davidson, 2004). Testsreveal that gamma oscillations can be evoked by the slow chant Om where rhythms generallyoscillate between 413 Hz. These frequencies play a complementary function to fast brainwave

rhythms. Lutz, Greischar, Rawlings, Ricard & Davidson reveal that long-term meditators hadphysically developed neocortexs where the lining was substantially thicker in those whopracticed meditation regularly compared to individuals who did not meditate. The neo-cortexpart of the brain protects and houses the pituitary gland, which is responsible for regulation ofsecreting hormones that control human emotions.

Meditation increases our hypometabolic state where the metabolism is in an evendeeper state of rest than during sleep. Meditation is the only activity that reduces

blood lactate, a marker of stress and anxiety. The calming hormone melatonin andserotonin are increased by meditation and the stress hormone cortisol is decreased(Khalsa, 2001).

Comparison ofGreischar, Rawlings, Ricard and Davidsons findings (2004) showthere was anincrease in frontal lobe activity during attention-focusing tasks such as meditation (Frith et al.,1991; Pardo et al., 1991). In comparison tests on Glossolalia singers whos practice consists ofa highly active state, Newberg, Wintering, Morgana and Waldman (2006) found there was adecrease in frontal lobe activity.

Figure 3:

Buddhist monk with EEG to testbrainwave activity during meditation.

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Historically, Glossolalia has been regularly used among Christian church practices and iscommonly referred to as speaking in tongues. A study by Newberg, Wintering, Morganaand Waldman (2006) hypothesised that because Glossolalia is a highly active andemotional state, associated with the perceived loss of intentional control, EEG tests wouldshow increased activity of cerebral blood flow in the brain; instead their test measureddecreased activity during the Glossolalia state (Newberg, Wintering, Morgana, Waldman,2006). Michael Persinger (born1945) is a cognitive neuroscience researcher anduniversity professor and like Newberg, is interested in the cognitive effects in people whopractice spiritual activities. His research uses contemporary brain analysis technology,EEG, fMRI, positron emission tomography (PET), and single photon emissiontomography SPET to determine if spiritual experiences may result from a hallucinogenicneurochemical release from the pineal organ (Persinger, Hill, 2003). Persingers numerous

reports analysed cerebral blood flow during Glossolalia (1984), transcendental meditation(1993), meditative prayer and Buddhist meditation (2003) to determine if spiritualactivities may have been responsible for altered states of consciousness.

2.1.3 BINAURAL BEATING AND NEURO-INTEGRATION

From the harmonic sounds of Om, a sound technique for altering brainwave states, comes thecontemporary tool, binaural beating. Binaural beats are auditory processing artefacts, orapparent sounds that are perceived only in the brain as a result of physical stimuli. Discovered

by Heinrich Wilhelm Dove in 1839, Binural beating was developed by Robert Monroe, who in1975 registered a patent for Hemi-Sync binaural beat technology. Hemi-Sync is an audioapparatus which involvesthe simultaneous play of 2 tones that differ by 15 decibelsin each ear,

as well as positive verbal messages (Lewis, Osborn, Ram Roth, 2004). Pure and precise audiosignals of different frequencies are delivered to the brain through stereo headphones, the twohemispheres of the brain function together to hear not the actual administered sounds but a

phantom third signal - a binaural beat (Boyce-Tillman, 2000, p. 193). The combination of thetwo sounds creates the perception of the superposed vibrato and is called binaural beating(www.monroeinstitute.com). Electroencephalograph (EEG) research results show that parts ofthe brain begin to resonate sympathetically to this phantom binaural beat (Boyce-Tillman,2000, p. 193).

Binaural beats at a frequency of 10.5 Hz have been shown to enhance the production of alphabrain waves that are associated with a relaxed and focused state (Sound for Healing, 2004).Listening to binaural beats at a frequency of 4 -7 Hz, indicative of a deep meditative state, has

been shown to increase the production of theta brain waves (Sound for Healing,2004). According to the positive results ofLewis, Osborn and Ram Roths experiments (2004),Monroes Hemi-Sync may be a promising and novel way to cancel out pain during surgicaloperations and thus eliminate the need for anaesthetics.

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Healing specific changes using extremely precise frequencies produced by binauralbeating can have a direct effect on cells by causing the release of healing specificneurochemicles (Friedman, cited in Boyce-Tillman, 2000, p. 193).

The sensory neural pathways which carry the neuronal coding of colour and sound passthrough the thalamus where they are implicated in either the inhibition or enhanced action ofseveral neurotransmitters. Some of these neurotransmitters act upon the physiological aspectsof tension and stress such as heart rate, muscle tension and blood pressure while others impactupon mental and emotional aspects (Barber, 1999, p. 445).

A neurotransmitter chain reaction is established, resulting in enhanced dendritereceptivity thus enhanced action of the neurotransmitters such as acetylcholine.

Acetylcholine act on the parasympathetic autonomic nervous system, decreasing heartrate, blood pressure and muscle tension, thus aiding physical and bodily relaxation(Barber, 1999, p. 444).

EEG NeuroIntegration is a system that utilises both a sound based binaural beat soundtrack andphotic light stimulation to guide brainwaves into a correct pattern. NeuroIntegration Therapy

works like a mind mirror, because the recipient is connected to an EEG machine which visuallyshows the recipient how their brain is functioning while translating the EEG data into

biofeedback. The biological data is processed, amplified and then fed back to the brain wherethe brain responds to it. Eventually, the brainwave activity is shaped towards more desirableand regulated performance (Clear Mind Centre, 2008).

The emerging field of molecular science which merges all the aspects mentioned in this chapter

is called psychoneuroimmunology (PNI) which studies the interaction between emotions,neurological and immune systems. One aspect of PNI incorporates the use of music and colouras behaviour modifiersto encourage mental, emotional and physical calmness. The link betweenthe psychological functioning of the mind and the neuroimmune system is also an importantcomponent of PNI.

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2.1.4 CORRESPONDENCES OF MUSICAL NOTES TO COLOUR AND FORM

Plato, Aristotle and Pythagoras have been harmonicmusical ratios and colour. In Sir Isaac Newtons

(1642-1726) treatise Optiks (1704) he was first topublish ideas dealing with parallels between the coloursof the spectrum and the notes of the Western musicalscale (see Figure 4). Newton mathematically divided the

visible light spectrum into seven colours and their notedmathematical relationships.

In New Zealand, Michael Smither, an artist and musician has dedicated years to the visual formof sound and the sound of colour. His paintings are abstract, colourful shapes, circles, wavesand patterns. Some of his images function as musical compositions where he uses colour tonotate the spectrum of visible colour to the octave of sound (see Figure 5). An octave isachieved by a doubling of a notes vibration time and the spectrum of colour is a parallel of this

phenomenon (Smither, 2008, p. 6), similarly, Itten says that the harmonic interval from red to

violet is approximately the double; i.e. an octave (Itten, 1973, p. 18). Smither has alsoperformed experiments with visitors to his exhibitions where he has gleaned information aboutthe human bodys ability to pick up resonant information and to guess colours without being

able to see them. Blind people are especially good at differentiating the frequencies of colour by

touch because they have more finely attuned their vibratory perception through this method. Inthe 1980s Smither exhibited a show called Light, Sound and Dance and according to him thefollowing musical notes correspond to these specific colours. A = red, Bflat = red/orange,B= orange, C= yellow/orange, C#=yellow, D = yellow/green, Eflat = green, E = blue/green,F = blue, F# = blue/violet, G = violet and G# = red /violet (Smither, 2008, p. 8).

Figure 4: Newton. (1704). Colors

correlated with musical notes and symbols

for the planets.

Figure 5: Smither. (2008). Red, Green & Blue from The colours of 12 sounds.

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2.2 Visual - Light and Colour

2.2.1 COLOUR

In 1660, Sir Isaac Newton (1642-1738) was the first toacknowledge that colour was a component of light and sawin a prism, even a simple prism like a soap bubble that whitelight could be broken down into a rainbow of colouredlights (Norman, 1990, p. 47).The thin films, such as in thissoap bubble (see Figure 6), break up white light intocolours. The colour depends on the thinness of the film for example, film as thin as a blue wavelength appears

blue(Coghill, 2000, p. 75).

Through his systematic observations of light Newtonprovided the first calculations of the variousfrequencies of light colour in terms of wavelength(see Figure 7). In this image wave lengths of white light arestated in Angstroms (). 1 = .000 000 0001m or 10-10m.Frequencies of white light stated in nanometres (nm).1 nm = 0.000000001m or10-9m or one millionth of amillimetre.

In 1810 Johann Wolfgang Von Goethe (1749-1832) wrotea book on the Theory of Colours which is inclined towardsthe viewers perception of colour rather than Newtonsanalytical perception. Goethes theories include how

colours affect people psychologically and the emotionalfeelings they can evoke. The painting entitledA Matter of

Perception (see Figure 8) is my interpretation of Goethescolour theory; a simple standpoint, that colour would notexist without the viewer to perceive it. Goethes focus on

subjective interpretation, the experience of colour and theconcept of polarities led towards the idea of complementarycolours. Both Goethe and Kandinsky expressed the nature

of colour as pairs of opposing ideas. Itten called thesecomplimentary contrasts: both colours and ideas are inopposition, in equal balance, they neutralise each other(Norman, 1990, p. 139). Goethe was the first to introducethe phenomenon of colour balancing.

Figure 6: Coghill, 2000, Soap bubble.

Figure 7: Visible light frequencies of the

electromagnetic spectrum.

Figure 8: Rachael Linton, 2008, Gouache

on paper,A Matter of Perception.

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When the eye catches a colour, it automatically brings forth another colour thattogether with the first completes the whole colour circle. Goethe said that in strivingfor totality, the eye seeks a colorless room beside every coloured one, in which toproduce the colour wished for. He held that here lies the fundamental principle forcolour harmonies (Goethe 1810).

Following Goethe, the psychological aspects of colour became a topic of great interest to theRussian-born French expressionist painter Wassily Kandinsky (1866-1944) and the Swissexpressionist painter Johannes Itten (1888-1967). Kandinskys ideas were predominantlyinfluenced by Goethe and when he wrote a list of colours along with the emotions they evoked,they were virtually indistinguishable from Goethes (Poling cited in Norman, 1990, p. 139). The

aspects of colour as they have been determined by Goethe, Kandinsky and Itten have beencompiled by Norman (1990) and are included in the Appendix 2 of this thesis as their ideashave served as the major source of reference for the application of colour in Sound Vision.

Included in Appendix 3 are some theoretical notes from an unpublished journal, written on

psychological harmonies, by Stanley Linton (1922-1983) in 1968. Linton was a painter andtheorist on topics of colour, health, especially cancer research and the physical sciences. Fromhis own observations Linton provides colour combinations which he believed to be harmoniousto the human eye. In this journal Linton drew diagrams and figures which visually and simplydescribe fundamental forms and motions of electromagnetic waves.

The refraction of light by rain drop to form rainbow, to provide insights on the natureof cell division in embryos, to predict certain kinds of behaviour patterns in nervousdisorders, the development of sonar, the flow of fluids and for solving problems

within the field of linguistics (Rene Thom, cited by Linton, 1964, p. 51).

2.2.2 PSYCHOLOGICAL

COLOUR HARMONIES

Johannes Itten developed a 12-hue colourcircle (see Figure 9) and considered thesubjective feelings that were associated

with objective colour as well as the psychicand emotional values of colours. Ittenstwelve-part colour circle shows the

different ways that colour harmonies canbe created which he described as chords.Colour chords may be formed of two,

three or four or more tones; we shall referto such chords as dyads, triads, tetrads etc

(Itten, 1973, p.118). When mixedtogether, the chords should always aim to Figure 9: Itten, 1961, 12 hue colour circle.

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create medium grey, which is said to generate a state of equilibrium in the eye (Herring cited inItten 1970, p. 20). Using the 12-hue colour circle as a visual aid harmonious dyads, triads andtetrads can be created in the following way: a four colour harmony is created when orange/red,

violet/red, violet/blue and yellow/green are arranged together to form a square on the circle.The illusory triangle or square may be rotated into any position on the colour circle and thecolours at each corner remain their harmonious balance.

Figure 10: Reference diagram for the selection of Hues

Figure 10: Reference diagram for the selection of Hueswithin the hue, saturation, brightness(HSB) colour selection on the computer. The Hue is the actual color and is measured inangular degrees around the circle, starting and ending at red = 0 or 360. The triangles may befollowed to align harmonious colour triads.

The cold colours blue and green, Itten describes as alluding to spirituality, contentment andtranquility are sedative in effect and would therefore be analogous to the colours of choice inachieving a calmer state. The warm colours of red and orange, both of which allude to radiantactivity and passion, act as stimulants and thus are to be avoided if seeking calmness (Barber,1999, p. 444).

Baker-Miller pink (bubble-gum pink) has been found to have an extraordinary calmingeffect and has been tested on violent and aggressive prisoners in holding cells and in

juvenile reform centres. Some researchers have found that muscle strength is physicallyreduced within seconds. Baker-Miller pink is now used in many correctional institutionsaround the world (Demarco & Clarke, 2001).

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In 1877, Dr Seth Pancoast (1823-1889), a prominent physician from Philadelphia, U.S.A., wasthe first to publish a book specifically about the therapeutic effects of light and colour. This

book,Light and its Rays of Medicine (1877) deals mainly with the stimulating red and thesoothing blue rays and their effects on humans. Pancoast had considerable experience in healingand developed his knowledge from 30 years studying Hebrew Kabbala and occult science. In

Light and its Rays of Medicine Pancoast describes how he used sunlight filtered through panesof red or blue glass to accelerate or relax the nervous system to creating balance within the body(see Figure 11).

Figure 11: Pancoast, 1877, Fashionable lady

bathing in red and blue light.

Pancoast cites ten remarkable cures whichadvocate the successful use of colour inhealing. One year later the American teacherand mesmerist Edwin Babbit, published his

own increasingly complex colour theory inThe Principles of Light and Color (1878).Unlike Pancoast, Babbits comprehensivetheory of healing with colour attracted

worldwide attention. Babbit invented a deviceto restore equilibrium which he called the Chromolume, a stained-glass window composed ofsixteen colours. The case histories detailed by Pancoast and Babbit in their respective bookshighlight that the methods they used with coloured glass filters served efficiently for thesuccessful treatment of ailments in the 19th Century, as many present day therapeutic devicesclaim to achieve. Later in the 1940s Russian scientist, S.V. Krakov conducted a series ofexperiments in which he separated the wavelengths of coloured light in the spectrum to show

how colour can affect the autonomic nervous system. He observed that red light stimulates thesympathetic part of the autonomic nervous system, the adrenal glands, raising blood pressureand pulse rate, and that blue and white light stimulate the parasympathetic part of theautonomic nervous system to have a calming effect (Demarco & Clarke, 2001).

2.2.3 THE THERAPEUTIC EFFECTS OF COLOUR & FLICKERING LIGHT

In the early 1900s, experimental psychologist Pierre Janet was among the first to experimentwith a method of treatment whereby he encouraged psychotic patients to look at a spinning fan

with a light shining on it. He found the effects of gazing at the strobe lit fan to be profoundlysoothing to the patients (Pigott, 2006). In 1959, artist Brion Gysin and scientist IanSommerville developed a stroboscopic flicker device that produced hypnotic visual stimuli. Theconcept was inspired by a kaleidoscopic vision Gysin experienced one day as he was driven pasta long avenue of trees with his eyes closed. To replicate the effect Gysin created theDreamachine, a cylinder with slits cut in the sides. When placed on a record turntable androtated, light from a bulb suspended in the centre of the cylinder cast light out through the slits.

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The similarity of the technique and the results of the effects caused by Janet and Gysinsexperimental devices are interesting. When light and colour are organised in specific movingpatterns such as spinning, oscillating and flicking they stimulated or soothed the viewersphysiological and/or psychological systems. The rhythmic and repetitive techniques using lightto affect the brain and mind can also be achieved with sound, certain sound techniques have

been found toentrain (see glossary) brainwaves (Anderson, 1989). Robert Monroe, anAmerican business executive and researcher of human consciousness developed this concept,when in the 1970s he used pulsating rhythmic sounds to entrain (see glossary) brainwaves andis a popular choice of complementary therapy today.

From a neuroscientific perspective Hollwich (1979), Anderson (1989) and Piggott (2006),reveal cases where light and colour frequency have been successfully utilised to reduce pain andincrease strength and stamina in patients suffering from disorders such as ADHD, migraines,

Alzheimer's, Parkinsons disease and cancer.

Coloured strobe lights are being used with great effect to treat a whole range of

disorders, including for example learning disorders, anxiety, phobias, dyslexia,obsessive-compulsive disorders, depression and post-traumatic stress syndrome(Demarco & Clarke, 2001).

Flickering red light has been successfully used formigraine and PMS pain relief and to help aid the focusof ADHD sufferers (Anderson 1989, Demarco &Clarke, 2001). Variable frequency photo-stimulation(VFP) goggles (see Figure 12) are a form of portablestroboscope which use red light emitting diodes to

alternately illuminate the right and left eyes. The rate ofthe light as it flicks on and off and the frequency of thecolour of light hold separate and distinct values. Bothtogether and separately these aspects can alter

brainwave frequencies to change physical andpsychological states.

When the colour red strikes the retina, thepsychoneuroimmuno response from the body is toemit a brain chemical called serotonin from the pineal gland in the brain. Serotonin andmelatonin are both calming hormones. The pineal gland, which sits close to the pituitaryand hypothalamus in the brain and has recently been shown to be the body's `light metre'(Demarco & Clarke, 2001, p. 96), due the fact that it directly responds to lightinformation received via the eyes.

Figure 12: Variable frequency photo-

stimulation goggles.

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The pineal and pituitary gland is specifically responsible for our emotional states (Hollwich,1979). It controls the secretion of the hormone melatonin and thus the body's numerous

biological rhythms. (Demarco & Clarke, 2001). Melatonin has been found to be ananticonvulsant and has been seen to decrease epileptic manifestations in humans (Anton-Tay,1974).

In an essay titledElectrophysiological correlates of flicker-induced colour Hallucinations (2008),researchers Becker, Gramann, Mller and Elliott used flickering light stimulus to measure howit affects the brain. Their subjects stared at a white light, induced using square-wave lightpulses going on and off rapidly and intermittently at a set frequency. They asked their subjectsto gaze at the flickering light and when they experienced the colour red, for example, as ahallucination, they were to acknowledge the analysts. During this experiment the participants

brain activity was measured using an EEG enabling the researchers to draw correlationsbetween the frequencies of the flicker to certain colours. They were also able to correlate the sitein the brain where the activity was centred while the hallucinations were taking place with whichcolour was perceived. Their findings reveal frequency changes especially within alpha andgamma brainwaves. In regards to this thesis, Becker, Gramann, Mller and Elliotts research

provides a record of the fact that flickering light frequencies can produce visual hallucinationsand colours that can be associated with the activation of particular parts of the brain.

2.2.4 SEEING COLOUR

When we see colour we perceive distinct frequencies of visible light through our eyes which arecapable of sensing the visible spectrum range from approximately 380 to 740 nm.Colourprocessing begins at the retina and contains two types of photoreceptor in which light is

transduced (see glossary) to yield a neural signal: rods which allow monochrome vision andcone allow colour vision. There are three types of cones in the retina each capable of differentspectral (see glossary) responses in the short, medium and long wavelengths of the visiblespectrum (Freeman, Hull, 2003, p. 516). In 1801 Thomas Youngwas the first to propose thatthe retina's three types of cones are preferentially sensitive to blue, green and red, this wasreinforced by Hermann von Helmholtz (1821 - 1894). The final discovery of the three opticalproteins firmly established the trichromatic theory in 1959.

Cone cells in the human eye

Cone type Name Range Peak wavelength

S (short) 400500 nm 420440 nm

M (medium) 450630 nm 534545 nm

L (long wavelengths) 500700 nm 564580 nm

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The cognitive process for colour is as follows: external stimuli excites the retina, the conesreceive the frequency of light then ganglia convert the waveforms in the cones intoelectrochemical information, then the optic nerve carries the signal back to the visual cortex atthe back of the brain for cognition.

The retina of a frog is illustrated inFigure 13. The star shaped patternsare hand drawings ofthe frogs outersegments of photoreceptors, viewedend-on by A. Hannover (1843) as helooked through a microscope. In the1840s Hannover thought these

patterns must represent anatomicalstructures but today laser physicistsrecognise these shapes as typical,changeable light patterns called

waveguide modes (Harris, 2008).This image held a significant role in

my development and understanding of energetic waveforms and has led me to create imagerythat is synonymous with this geometric structure. The aim of some of the experiments carriedout for Sound Visionwas to capture the crystalline structure of waveguide mode patterns.

Vibration in water using sound and filming objects through crystal lenses as well as replicatingmoving forms into kaleidoscopic patterns in post production are all methods employed towardsthis effect. The anatomical structure of the human eye with its crystalline lens, and retina arealso reflective of the imagery created for Sound Vision.

2.3 Visual - Form, Motion & the Body

2.3.1 FORM & MOTION

The following forms create a visually cohesive summary of the themes from which I derived thisvisual form of sound. The forms and motions of all energy vibration can appear visually aspatterns, resonating, oscillating and transducing through space. The Mandala, Yantra and theplatonic solids, chakra symbols, cymatics, waveguides and the forms of geometric visualhallucinations all exhibit forms in their configurations that look like, and are homogenous to

cellular constructions. Each of these images tells a story about vibrational content or rhythmicstructure in its geometric form. This chapter presents an overview of the visual forms that haveinfluenced the imagery in Sound Vision; symbolic lines show the harmonic structure of vibratingphenomena, in this case by either sound or light.

Figure 13: Hannover, 1843, Hand drawing of theretina of a frog.

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2.3.2 CYMATICS

Imagery can be created by vibrating a pool of water with sound. Cymatics is the study of wavephenomena, which emerged as a distinct scientific discipline in the 1950s and has sinceundergone a concentrated tour de force of exciting development (Volk, 2008, p. 16). Robert

Hooke, Ernst Chladni, Margaret Watts Hughes and Hans Jenny were the initiators of cymaticswho each found wonder in the changing patterns as they animated matter reacting to sound. Asdifferent sounds resonate through either a pool of water or on a plate of sand, defined anddynamically changing geometric patterns appear. As water (or sand), is subjected to graduallyincreasing frequencies, standing wave forms. Standing waves are stationary points that asmoving water ripples past them, geometric patterns appear on the surface of the water. Thecomplexity of the patterns increases with the increasing pitch of the exciting tone and at acritical pitch the structured geometric pattern dissolves into chaos, only to re-configure into ahigher order of complexity, as the tone continues to ascend. This process of chaos and re-integration is seen throughout nature, from the valence fields of electrons within an atom, tocomplex weather patterns, to intricate physiological processes within our bodies (Volk, 2008, p.

14).

Hans Jenny (1904-1972), Swiss physician and natural scientist, is considered to be the father ofcymatics, the study ofwave phenomena. Through his study of cymatics Jenny developed atheory that molecules inside each cell of our body can be positively affected by sound vibration.Peter Guy Manners, a British osteopath has developed this idea to create a link between sound

vibration and cells in the human body. He states that disease is an out of tuneness in some part

of the body (Manners, cited in Boyce-Tillman, 2000, p. 193). A healthy organ will have itsmolecules working together in a harmonious relationship with each other and will all be of thesame pattern. If different sound patterns enter the organ, the harmonious relationship could be

upset. If these frequencies are weak in their vibration, they will be overcome by the strongervibrations of the native ones.

If, on the other hand, the foreign ones prove to be stronger, they may establish theirdisharmonious pattern in the organ, bone, tissue, etc. and this will have what we calldisease. If therefore a treatment contains a harmonic frequency pattern that willreinforce the organs, the vibrations of the intruder will be neutralised and the correctpattern for that organ re-established, this could constitute a curative reaction(Manners, quoted in Boyce-Tillman, 2000, p. 193).

The CymaScope is a 21st century invention by Jim Reid, based on the production of visualimages using cymatics. Patterns appear on the CymaScope as a participant pronounces wordsor sounds. The emerging patterns provide important visual feedback allowing patients to know

when they are pronouncing words and sounds correctly. This system is useful for teachingmany speech impaired people to speak more clearly. (Reid, 2008).

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2.3.3 WAVEGUIDE MODES & LASERLIGHT

In electromagnetic and acoustic science the term waveguide refers to any linear structure thatguides electromagnetic waves, for example, through a hollow metal pipe such as a flute, aresonant cavity like a didgeridoo or the human trachea as well as light through fibreoptics. The

shape of waveguide modes are defined by the shape and size of the structure that they runthrough as well as the length and polarisation of the wave itself. The longitudinal flow of energythrough awaveguide will form particular standing wave patterns confined in the cavity (seeFigure 14) and can be illustrated visually by looking at the standing waves in a string (seeFigure 15). The cross section of the longitudinal flow of energy is called fundamental transverse

wave modes(see Figure 16).

Figure 14: This image shows the first seven longitudinal modes of a plane-parallel cavity as well as the

standing waves in a string; the fundamental mode (top) and the first 6 overtones.

Figure 15: Tony Nichollas - Designer Rachael Linton - Photographer, 2008,

Standing wave in a vibrating string.

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Fundamental transverse wave modes

Figure 16: Paschotta, 2008, Transverse waveguide modes.

Figure 16 illustrates the Electric field amplitude profiles for all the guided modes ofan optical fibre. The two colours indicate different signs of electric field values. Thelowest-order mode (l=1, m=0, called LP01 mode) has an intensity profile which issimilar to that of a Gaussian beam. In general, light launched into a multimode fibre

will excite a superposition (see glossary)of different modes, which can have acomplicated shape (Paschotta, 2008).

Figures 14-17 represent a still shot of the motion of sound. The patterns range from thesimplest single lobe structure (see Figure 16, 1=0, m=1) and increase in complexity asconditions such as the phase and velocity change. Each of the divided illustrations in thisfigure show concentric rings and angular distribution as different frequencies andintensities of light change the pattern. Superposition of two different modes will also createeither constructive or destructive interference.

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Figure 17: Lauterwasser, 2007, States of an oscillating hydrogen atom, depicted here as a

cross section through the center of the atom.

These fundamental waveguide modes provide a visual diagram of the motion of a perfectmembrane on a drum, how a hydrogen atom oscillates and how optical waves such as laser

beams are transmitted and reflected in an optical cavity. An optical cavity (optical resonator) isan arrangement ofmirrorswhich form a standing wave cavity for light waves to resonate in.The laser is a special source where the motion approaches that of a single wave (Freeman,

Hull, 2003, p. 439). Observation of standing-wave patterns by 1803 Thomas Young (1773 -1829), the English polymath, was able to develop the theory that light moves in waves. Like

Aristotle, Young examined waves in water. Young created a ripple tank to demonstrate the ideaofinterference in water and the two-slit, or double-slit experiment (1972), to demonstrateinterference of light as a wave.

2.3.4 MANDALA

Mandala literally means circle and is a visual representation of the universe. Philosopher andpsychoanalyst Carl Jung (1875-1961),saw the Mandala as a representation of the unconsciousself and that the point at the centre of the circle refers to the vital centre of the personality from

which the whole structural development of consciousness stems (Jung, 1978, p. 169). The

geometric shapes and mathematically proportioned framework within the Mandala are arrangedwithin a circular configuration to represent many different notions of harmony such as peace,unity and totality. There are many different types of Mandala which are often visualised orimagined during Tibetan Buddhist meditation for different purposes. Each Mandala, or Yantra

are also referred to as power diagrams (Khanna, 1976). The fundamental forms referred tofrequently in this thesis is the reoccurring archetypal shapes based upon the division of thecircle. The bindu or dot at the centre is the optical , line, vesica piscis, triangle, square,diamond, pentagon, hexagon, stars as well as the rays that radiate out from the circles centralpoint as well as all their 3D counterparts, the platonic solids, are of interest to this study. Theseformations can be distinguished in the motion of naturally occurring energetic phenomena suchas sound and light.

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In The Mandala of Sound, unpublished Ph.D. dissertation (1979), author Terry Ellingsonrefers to a conceptual set of three Mandala which are relevent to the human being: the Mandalaof the body, voice and mind. Ellingson describes the process whereby transformations can beattained through symbolic body gestures exerted in dance; using the voice such as mantras orevocative vocalisations and using the mind in meditation. Sound Vision explores the same ideasthrough singing and dance to create a filmic meditation.

2.3.5 YANTRA

Throughout this thesis I have continually revisited theSri Yantra which is believed by some to be a directderivative from sound. Lawrence Blair (1976, p. 131),Johnathan Goldman (Goldman, 1992-2009) andRonald Nameth (Khanna, 1979 p. 116) claim that the

image of the Sri Yantra can be formed using soundvibration and more specifically the vocal sound Om(see Figure 18).

Om, when correctly uttered into the tonoscope(see glossary) produces the circle 'O', which isthen filled in with concentric squares and triangles, finally producing, when the lasttraces of the 'm' have died away, a 'yantra', the formal geometrical expression ofsacred vibration (Blair, 1976. pp 115).

When Hans Jenny changed the vibrational pitch and resonance of the sound the patterns changetoo. This concept is the basis of cymatics where different sound frequencies are used to producedifferent visual patterns.

2.3.6 KUNDALINI & CHAKRAS

The human body is considered to be the best of all Yantra. The seven chakras on theaxis of the spine are activated in sequence during meditation. From the root chakraupwards (see Figure 19) they are known as M l dh ra, Sv dishth na, Manip ra,

An hata, Vi uddha, j a and Sahasr ra (Khanna, 1979, p. 124).

Kundalini otherwise known as the Chakra energy system is an ancient Hindu and Chinesescience in which the bodys flow of energy has been intricately mapped. In Chinese medicinelarge healing centres are called chakras and smaller points are called meridians and which areinvisible paths along which energy flows in the body. Chinese medicine possesses centuries-oldknowledge on the meridian system while modern biophotonic research has been able to

Figure 18: Khanna, 1979, Sri Yantra formed

by the sound Om.

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reinforce ideas about how energetic resonance can be transferred across the electromagneticspectrum. Biophotonics is a field of scientific investigation that studies the electromagneticactivity of cells, specifically light. Therapies which manipulate the energy of the meridiansinclude acupuncture, shiatsu, reiki, tai chi, acupressure and colour puncture. These techniquesare used to treat patients for many psychological and physical complaints.

In Kundalini, each of the seven chakras corresponds to a part of the body which are associated

with parts of the endocrine system (Maman, 1997, p. 38). Practice of Kundalini meditation

encourages the participant to visualise a form or symbol while chanting the sound or mantraassociated with that symbol. In order to form visual rhetoric, knowledge of the sound-to-symbolcorrespondences is necessary to understand how healing can be attained through the ancientsystem. The geometric shapes of the chakra symbols and in the Sanskrit chakra symbols thatrepresent OM, HAM, YAM, RAM, VAM and LAM hold instructions within their compositionsthat instruct what kind of vocal sound the practitioner may chant in order to entice overtonesthat can be beneficial to the body.

Figure 19: Electromagnetic correspondences

between the body, sound, light/colour and form.

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2.3.7 THE BODY IN SPIRITUAL FORM & MOTION

Figure 20: Whirling Dervishes

Several spiritual practices have inspired the dancing in Sound Vision, predominantly, Eurathmy,Whirling Dervishes and Mudra. Eurhythmy is an expressive movement dance art that wasinitiated by Rudolf Steiner in 1911. The purpose of the motions of eurhythmy is to stimulateand strengthen expressive capacities through movement. Rudolf Steiner was a great advocate ofthe bodys inherent need for movement. Eurhythmy has been used therapeutically to

compensate for somatic and psychological imbalances with the aim to strengthen the organismssalutogenic (see glossary) capacity to heal itself (Poplawski, 1998). In eurhythmic dancing theperformer is guided to draw their body into harmony with the piece they are articulating,

whether it is to music, spoken word or even silence. The pedagogical exercises in eurhythmy,which is sometimes called visible music or visible speech, begin with the straight line and curveand proceed through successively more complicated geometric figures and choreographedforms, to develop coordination and concentration. Eurhythmy has been used successfully withschool children especially within the Waldorf teaching curriculum, also started by Steiner in1919. Often in this dance the performers will wear long light and flowing dresses made of lightfabric so that as the figure moves they create waves in their wake. Kandinsky when he studied at

the Bauhaus was inspired by the bodily forms of Eurhythmic dancers. Kandinsky painted andsketched the dancer, drawing out the simple lines that she danced. In her attractiveandrogynous dance style, Kandinsky saw grace for abstraction, masculine forms and simplecurves.

The whirling dervish (see Figure 20) is another form of movement which has inspired thespinning motion of the figures in Sound Vision. The costumes worn by thewhirling dervish aredresses which when they spin, flair out into a full circle. The whirling dervish is a Sufi spiritualpractice whereby the performer turns or whirls endlessly while manipulating skirts in a colourfuldisplay. The concentration and training is obvious as their bodily posture and arm movements

balance them while in their spinning dance.

Ancient Hindu people realised that certain sounds released postural phenomena (Campbell,

2000, p. 16), this is Mudra. Mudra can be either hand postures such as the one often exhibitedin displays of Hindu deities, or full body Mudra, where all the limbs are focused into a figurativepose. Mudra formations trigger focus and a greater connection to the self within the mind. Theshapes created by hand and body postures aid the mind to retain focus.

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2.3.8 GEOMETRIC SHAPES & EMOTIONAL STATES?

Barbara Stafford, a visual communicator and neuroscientist suggests that specific shapes havecognitive significance within the human psyche. Stafford says that the brain, especially thetemporal lobes, recruit the same areas and structures over and over again in the process of

building our experiences. This process may be why the same visual forms arise repeatedly in art.Shape and colour radicals might awaken memories of a distant cognitive heritage (Stafford,2007, p. 34). Stafford recognises that geometric shapes have been intuitively scribed on theearliest rock carvings, written in alphabetic languages, art and architecture. Shapes have beenused repeatedly throughout time from Ancient Egypt, Chinese medicine, Tantric religion,chemistry, alchemy, physics, cymatics and mathematics. Stafford also believes that shapetuning meets up with emotional regulation (Stafford, 2007, p. 34).

The forms that arise during these hallucinations can be likened to those seen in drug inducedand migrainous hallucinations. In 1926 Hienrich Kluver grouped perceived geometricstructures into a set called form constants. Visual hallucinations, whether drug induced or

entoptic (see glossary) are generally similar in form.

1. Lattices including grating, fretwork, filigree, honeycomb, checkerboards,and triangles.

2. Cobweb figures.3. Tunnels, funnels, alleys, cone, vessels.4. Spirals.Fritz Hollwich (born 1909), author, researcher and professor, discovered that the levels ofstress hormones, adrenocorticotropic hormone (ACTH) & cortisol, in people working under

artificial `cool-white' fluorescent tubes was significantly increased. Due to his findingsfluorescent tubes were banned in German medical establishments (Demarco & Clarke, 2001).Hollwich invented the full-spectrum fluorescent tube which produces significantly less stresshormones, ACTH and cortisol, than the standard cool-white lamps. From the standpoint ofhealth, this broad spectrum tube is better tolerated regarding the endocrine response of thehuman body (Hollwich, 1979, p. 94). Doctors at the Hammersmith Hospital in London have

been using light and colour in a more directly physical way that described above. They havefound polarized full spectrum light to be highly effective to treat a variety of cases. Theyreported that a combination of red and blue light is effective in the treatment of acne. Psoriasishas been treated successfully for a number of years with ultra-violet light. Blue light (around450 nanometres) has been used for many years in neonatal units for the treatment of neonatal

jaundice and in the treatment of arthritis (Demarco & Clarke, 2001).

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2.4 Artist case study - Arte Nomade

Arte Nomade is an audio/visual, 3D, digital performance using coloured light in form andmotion. The coloured light, forms and motions in Arte Nomades performance were similar to

the concepts I was developing for this thesis and so I subsequently returned to film and talk with

them to find out is they were aware of the healing properties of coloured light, forms andmotions. Rivero said that she was aware of therapy in regards to applying sound and colouredlight but that their current performances are entertainment and not directed to achieve specifichealing responses. Arte Nomads digital audio/visual art instillation performances are aprecedent example of the kind of light and sound setup that is preferable to immerse the viewerinto a meditative state towards therapeutic outcomes. During the show viewers wearchromatech 3D glasses, which enhance the illusion of colour depth, drawing them into the

whirlpool of light (see Figure 21), projected onto a fully immersive 12m long screen in front ofthem. The purpose of this art installation is give the opportunity to the viewer to explore andnourish his/her own imagination and create an exclusiv