May peace prevails upon all beings on the earth and beyond. You may scroll down to browse the contents of this blog.

Sunday, 31 December 2017


Salam 'lu gua' dua brader kutu,
spesis zaman panjang bulu,
tertemu di celah lorong batu, 
menjelang tahun baru. 

Maaf pantun gua merapu. 



Petang bila bayang panjang,
aku teringat 'Wal'asr'


Yg suka berlawan ni yg jahat. 

Jahat lawan jahat, siapa menang?
Jahat kalahkan jahat, jahatla yg memang.

Jomla suka berkawan. 

Thursday, 28 December 2017



1. The Grammar of Harmony

In particle physics (a branch of quantum physics), symmetry takes a central position, especially if one interprets the universe as obeying a given symmetry and that the laws of physics are the same for everything in it with respect to the symmetry (Whyntie & Pugh: 2013, p141). One example of such symmetry can be observed in what is referred to as ‘the Eightfold Way’, used by Gell-Mann in 1962 to predict the existence of a strange Omega particle.

The Eightfold Way
(Whyntie and Pugh: 2013, p108)

Top view of a part of Taj Mahal, Agra (1631-1648)
The design of built-environment in Islamic visual tradition emphasizes on symmetry, echoing similar symmetry of the sub-atomic scale to the galactic scale.
(al-Faruqi: 1992, p 457)

The terms ‘Fundamental Spacetime Geometry’ or ‘Quantum Geometry’ in quantum physics are indicative of how geometry, harmony and order are central in our understanding of both micro and macro domains of the phenomenal world.

Harmony and order, as visualized by the geometrical and arabesque language of Islamic tradition, are also parts of a larger ‘shared insight’ known as the ‘sacred geometry’ or ‘the grammar of harmony’ that can be observed in Nature as well as many forms of traditional visualizations around the world. It is a quantum language that visualizes the “models of the universe, both its outer aspect and its inner one” (TPW, Juniper & Skelly: 2010, p118).

“This is all pretty remarkable evidence that there is a mysterious unity about the patterns found throughout the whole of creation. From the smallest of molecules to the biggest of the planetary ‘particles’ revolving around the Sun, everything depends for its stability upon an incredibly simple, very elegant geometric patterning – the grammar of harmony” (Ibid, p118).


Unity of Geometry – Root Power
by Jonathan Quintin Art
in The Resonance Project facebook site at
The unity of geometry, especially its underlying mathematical algorithm, can be traced in many spiritual traditions around the world, including in the geometrical and arabesque language of Islamic visual tradition. It cuts aross many boundaries : geographical, historical, disciplines of knowledge and many more.

In Islamic context, the geometrical language is not merely a response to the Quranic objection to representation of living creatures as popularly claimed by many writers, but more importantly is a reflection of a deeper understanding of the underlying fabric of the universe – the fundamental quantum space-time geometry. It is a ‘shared insight’ originally acquired from the Greeks by Muslims during the high ebb of Islamic Civilization (and the low ebb of the West then) between 8th. to 13th. century. (6)

Penrose’s tiling bears some resemblance to the geometrical and arabesque language
of Islamic visual tradition, including for example the geometrical patterns at the Darb-e Imam shrine in
Isfahan, Iran. Here we may find another example of how a contemporary physicist-mathematician speaks in a similar language with artisans of the past from the vast regions of Islamic visual tradition.

Geometrical patterns at the Darb-e Imam shrine
located in Isfahan, Iran. The first structures were built by Jalal al-Din Safarshah in 1453.   

Such grammar of harmony is also embodied by Fibonacci sequence, proportion, curve and spiralling vortex that can be observed in both microscopic and macroscopic domains of the phenomenal world. The sequence starts with 1, 1, 2 to 3 to 5 to 8 to 13 to 21 and so on with each number a product of adding the preceding two. Dividing any of these numbers by one that precedes it yields 1.618, also known as phi or the ‘Golden Ratio’ in the field of mathematics (1:1.618). Fibonacci sequence, proportion, curve and spiralling vortex can also be observed in the geometrical and arabesque language of Islamic visual tradition, including in the traditional Malay carvings.

Fibonacci sequence, proportion and curve

Fibonacci in a spiralled nautilus shell




The grammar of harmony in the Malay traditional visualization
A composite of two curved lines with an image of the head of a traditional Malay dagger known as hulu keris. A keris is traditionally-used as a part of silat or a form of Malay traditional martial art, during a one-to-one combat and a cultural ritual or performance. The two curved lines trace the movements of two points in space during one solat (Islamic prayer) movement by a single human subject. The movements were traced and captured by motion-capture cameras. One point was placed on the forehead of the subject while another point was placed on the tip of the subject’s middle finger. The resulting curved lines were then separated from their original positions and composited with the curvature of the keris head. They fit nicely, implying the close correlation between a body movement (in this case, a movement during a prayer) with the design of a keris. There is an underlying geometrical language that coheres or resonates harmoniously between the two, despite the seemingly distinct body movement in comparison to the organic design of the keris. As a traditional object, keris is also used during a traditional healing ceremony.
A Fibonacci curve is composited on top of image (i), and they fit fit nicely. It shows that the human body movement and the hulu keris speak with similar grammar of harmony that can also be traced across both the micro and macro domains of phenomenal world.
This image shows a composite of a Fibonacci curve with a sample of Malay traditional carving motif. Again, they fit nicely.

“In reference to Malay traditional art, mimickry factor is a common phenomena since it is a part of the natural environment itself. A firm understanding of the natural environment allows traditional artists to produce art that is fine and resonates with nature itself. Such refinement of living experience is manifested through visual utterances, built environment and literature that flow with the rhythm of nature.”
(Mohamed Najib Ahmad Dawa: 2003, p23. Translated by the author)

A Fibonacci curve composited on an artwork by
Hasnul J Saidon
Rhythm and Movement Series” (1987)
Oil on canvas

This Is another example of a seemingly non-geometrical painting that contains an underlying grammar of harmony (Fibonacci curve) as the basis of its composition.

A composite of two palms with the two curved motion-captured traced lines from a solat movement (similar as above)

A composite of the two curved motion-captured lines from a solat movement with a cross-section image of a nine month pregnant body,

A composite of a Fibonacci curve with spiralling vortex, traced and motion-captured lines from a silat (traditional form of Malay martial art) movement and a cross-section image of a nine month pregnant body.

A composite of a Fibonacci curve with a spiral galaxy.

The grammar of harmony from microcosm to macrocosm.

The spiralling movements of planets along the trajectory of the sun (in the middle). Video still from

The grammar of harmony between heaven and earth
A composite of the spiralling movement of planets with the S curve (two Fibonacci curves) tracing of a snail’s movement on a pavement, captured by the author.

The grammar of harmony (also known as the ‘golden key’ or ‘golden proportion’) in human body
By Jonathan Quintin Art at

Space-time geometry and cell dividsion

“The pattern of cell division in biology matches the fundamental structure of the fabric of the space in which it is dividing. It had better, or else we probably wouldn't be able to coordinate the estimated 100-200 TRILLION chemical reactions that happen per SECOND on a cellular level inside the human body!

When we are 64 cells old, all of our cells are identical and our physical existence matches the geometry of a 3D Flower of Life / 64 tetrahedrons. It is not until after 64 cells that the cells start to bifurcate and differentiate into different types of cells, dividing until we become approximately 100 trillion cells, each made of approximately100 trillion atoms working in perfect synchrony. (Nassim Haramein at

The ‘golden key’ extended into infinite fractals
By Jonathan Quintin Art at

The inter-connection between the grammar of harmony in geometry as visualized through built environment with the concept of Unity in Diversity is summarized eloquently by the following remark from HRH The Prince of Wales:

“Five times a day the entire world of Islam turns to face Mecca where, in the centre of the central mosque, stands the immovable cube of stone, the Kaabah. The emphasis of this act is unity. It is the single testimony upon which Islam rests: that there is no god but God, who is the God of all, or Allah. In committing to this single testimony, all Muslims are unified and this unity of all things is expressed very visually in Islamic architecture. The intention is to make it perceptible at all levels of the built environment. On every wall of every room, in every building and in while cities, the aim was to create a sense of wholeness, the unity that rests in the heart of every man and woman” (TPW, Juniper & Skelly: 2010, p123).

Since the grammar of harmony can be observed in both micro and macro-domains of life, geometry is epistemologically trans-disciplinary. In this context, trans-disciplinarity is not the result of ideological framework (post-modernism for example), but is the very essence of knowledge and wisdom themselves.

“…geometry has been studied because it has been held to be the most exquisite, perfect, paradigmatic truth available to us outside divine revelation. Studying geometry reveals, in some way, the deepest true essence of the physical world” - Piers Bursill-Hall “Why Do We Study Geometry” (Yau & Nadis: 2010, p17).

Similar grammar of harmony can be observed through cymatics, which is a study and visualization of sound wave phenomena. The word ‘cymatics’ derives from the Greek ‘kyma’ meaning ‘wave’, originally coined by Hans Jenny (1904-1972). In this study, sound is made visible through vibrated thin coat of liquid or crystal particles on the surface of a plate, diaphragm or membrane. The type of mandala-like geometrical sound patterns that emerge on the plate depends on sound frequencies. Cymatics show that forms are basically cohered frequencies of waves (qwiffs or quantum wave functions).

Ancient civilizations and spiritual traditions from various parts of the world have embedded geometry based on sound frequencies or cohered waves inspired by Nature into their visual and built environment. Other than visual, sound takes an important place in many spiritual traditions as a vehicle of higher consciousness, spiritual rejuvenation and healing. One may also relate the vibrational notion of cymatics with the act of zikr that involves verbal invocations of short phrases meant to induce ‘God consciousness’. Cymatics frequencies have an effect on humans, since humans are made of over 70% water. Christina Sarich for example, proposes the following tabulation to suggest the influence of sound frequencies towards human body:

285 Hz - signals cells and tissues to heal, rejuvenating the body
396 Hz - liberates guilt and fear to make way for higher vibrating emotions
417 Hz - undo challenging situations
528 Hz - heals DNA, repair cells and awaken consciousness
639 Hz – induces feeling of love for self and other, oneness, balance
741 Hz - cleans cells and heals them, empower
852 Hz - awakens intuition
963 Hz - activates the pineal gland, and aligns the body to its perfect original state
(Christina Sarich: 2015)

Visual and built environment in ancient civilizations and spiritual traditions echo or resonate in harmony with their human occupants, Nature and the Universe – across both microcosm and macrocosm. Similar to the repeated modular units, radiant and symmetry design found in Islamic visual tradition, cymatics can be taken as a form of quantum visualization that reveal the ‘building blocks of a language based on energy, frequency and form. Sound is behind the manifestation of form and matter’ (Drago De Silver: 2015).

An example of cymatics by Hans Jenny

Cymatics feature shapes that mimic divine geometry. Patterns emerge via waves of energy, displaying the fluctuation of energetic field. Certain sounds frequencies (patterns) can change the brain waves and be used for healing of the body. In this regards, Dr. John Beaulieu explains:

“The fundamental principle of Energy Medicine is that an underlying energy field generates physical, emotional, and mental behaviours or symptoms. If we change the energy field, the physical, emotional, and mental behaviours will also change” (Christina Sarich: 2015).

In compliment, Dr. Robert Friedman posits:

“The deeper I looked, the more deeply I discovered this incredible and ubiquitous Code to be embedded throughout the structure and function of the body…it only followed that the more one could harmonize with this grand principle, the more efficient and effortless life could be” (Ibid. See also Zen Gardner, at and

Cross-section of DNA molecule
Souced from a video ‘Unity of Geometry – Root Power’ by Jonathan Quintin Art
in The Resonance Project facebook site at

A top view of a DNA showing ten points on its outer rim which allow
two five-pointed stars to be drawn within
(TPW, Juniper & Skelly: 2010, p117)

Selections from Ernst Haeckel's 1904 “Kunstformen der Nature (Art Forms of Nature), showing pennate (left) and centric (right) frustules of a Diatom. Diatom is a form of unicellular phytoplankton.  

Alexey Kljatov
Water Crystal
Originally Published on Nov 9, 2014
“To understand water is to understand the cosmos, the marvel of nature and life itself”
Dr. Masaru Emoto, quoted from Jain 108 Mathemagics at

Radiant pattern made by animal
An extraordinary sand sculpture with radiant geometric pattern created by a pufferfish to attract and win a mate.

Geometrical and arabesque language of Islamic visual tradition
((TPW, Juniper & Skelly: 2010, p109)
“It appears that nothing in nature is so small or seemingly insignificant that it does not merit a pleasing symmetry,…Furthermore, there are numerous other examples - the endlessly embellished hexagons of the snowflake, the lovely geometric spiral of the chambered nautilus, the perfect cubes found in mineral crystals. As for man, himself a remarkably symmetrical creation,..” (Shafie Mehad: 2002, p1).

Hasnul J Saidon
In The Precious Garden – The Reading of a Silnced Wisdom”(1993)
Multi-channel Video & Sound Installation

Structurally, there were eight formal devices related to quantum space-time geometry used in creating ITPG, namely :

the use of mathematical and schematic principles, including fractal abstraction (time is
compressed or expanded and divided into smaller or bigger fractions or units)

Modularity and cyclical formations - that eventually connote inter-dependency, inter-linked and interlocking patterns

Simultaneity and dynamism - as opposed to permanency/fixed view

Non-linearity - as opposed to sequence

De-centralization, multiple options, open-endedness and flexibility, all of which relate to

User/observer centered paradigm that allows the observer to decide his/her own pattern of perceptual experience according to his/her own option in a given confine of time and space (observer-centered) This leads to

Interactivity, participation, involvement and immersion.

A text-poem was constructed in a modular and cyclical fashion to negate linear logic of progression. It was written on a large white cloth in a spiraling fashion. The original version formed the base of the installation. Twelve smaller compressed copies of this original version were made and placed in equal distance at twelve separate points on the base. They functioned as the secondary physical branches. These secondary branches were then copied and compressed into twelve smaller units and placed in a similar manner to form the third branches.

Similar fractal formulation was used in translating modularity into time-based fractions. A single sixty minute tape consisted of both visual (images and texts) and aural materials related to 'a journey of life before time' was initially conceived. This sixty minute original version was then compressed (in time) and divided into twelve smaller units, each with duration of five minutes. These secondary branches (or fractions) were then compressed and divided into twelve smaller units, each in a span of 25 seconds. These smallest units formed the tertiary branches - three times removed or compressed from the original version in terms of time. Images in the 25 seconds version appeared as flashes or sparks in relation to the original time version
(Hasnul J Saidon: 2008(ii))

 2. Reflection from a practicing visual artist

Abdul Muthalib Musa,
 "Centrifugal 10 degree" (2005),
120cm x 120cm x 8cm, lasercut mild steel with clear 2K coat.
Aliya & Farouk Khan Collection.
Muthalib deploys geometrical forms as the basis of his
work here. One can discern a spiralling Fibonacci curve formed by a sequence of
circular shapes placed offset from each other in 10 degree.

The following text is a verbal reflection on quantum language as practiced, lived, experienced and verbally expressed by Multhalib Musa, one of the prolific visual artists in Malaysia. The reflection is based on eight key themes, in reference to a selection of written interpretations and descriptions of quantum phenomena by several key quantum physicists around the world.

2.1  Geometry
“My working process does not begin with any mathematical formula or a vision of specific form. Maybe there is a formula, but not mathematical formula. The formula comes from daily phenomena, events and objects from my surrounding, including man-made and nature. The phenomena can be anything, from small scale to big scale like the earth rotating in certain degrees of slant and in elliptical orbit, planetary movement, the structure of a black hole and so on.”

“I see points in a phenomena, event or object. For example, a moving bicycle wheel. I will pick a point and observe how it moves in space and time. In this instance, it moves in a circular movement on x and y planes. I can change the circle shape, break it down, change the value of x and y axis. I can compress it, or stretch, distort, scale up or down, change the proportion, to form a new shape. I can add depth by adding z axis to create a three dimensional form from the basic shape. I can multiply the shapes, repeating and arranging the additional shapes in a certain sequence, changing the angle in the interval between the shapes along the x, y and z axis to create a sphere or other more complex forms. This process of searching for form will continue until I get a form that I am satisfied with. The resulting final form may not anymore look like the referred phenomena, or event and object.”

“I also refer to musical phenomena. Music is a waveform and now, it can be visualized digitally in the language of geometry, including in a three dimensional form. Of course there are geometry and mathematical formula in my works, but I let the computer to calculate the geometrical structure and provide the mathematical formula. I can focus on the intuitive process of testing out, exploring and experiencing possibilities.”

“Therefore, geometry can be taken as the end result of my working process, not the beginning or preliminary process. But after deploying this system of working for many years, I have to say that now I can see geometry in my surrounding, especially in human and nature.”

2.2 Observer-centred reality
This is hermeneutic. I recall one talk that I saw on Youtube about how we experience the world. Every person experiences the world in his or her own way. All depends on the observer’s point of view. But we usually limit the point of view for many reasons. Of course a three dimensional artwork can be perceived from multiple points of view according to the choice of the observer. But in some situations, we have to choose the best vantage point. Pragmatically, if I had to face a client to present my artwork, I had to limit the view and only show them several points of view that I felt the best, that had the wow factor. In this example, I was the one who chose for my client. I could also use the walk through technology, but virtual experience is different than real experience, especially if we change the scale. Digitally or virtually, an interactive experience may provide unlimited points of view, but the situation is different in the real world. My large public sculpture for example, can’t be viewed from the top or higher vantage point in a real situation. Of course virtually one can view from any point. Therefore sometimes I have to choose one best point of view for a documentation, or for presentation to a client. How an observer views my work depends on the final scale in real situation, not in a virtual form.

2.3 Multi-level universes and extra dimensions
I have always been fascinated with the idea of multiple universes and the existence of other dimensions. When I was a kid, I was always attracted to stories about journeys to other world through verbal and religious sources. For example, the story of Isra’ and Mi’raj of Prophet Muhammad who was carried by Buraq. It has been embedded in me since my childhood. Current findings in the world of physics about extra dimensions, about traveling at the speed of light, about folding space-time, wormhole, and black hole, appear to be exploring the possibilities of what were taken as impossible and illogical before. Quantum mechanics says that these can happen, at least in theory. The film ‘Interstellar’ by Christopher Nolan for example, makes me even more interested in these possibilities. The idea of traveling to the past and to the future, crossing dimensions, and the possibilities of re-using binary language, the ticking of the clock, as shown in the film, have been around in the traditional Malay healing culture. Hollywood and popular media have co-opted such notions of space and time that have been around in our traditional culture. Traveling into the realm of other beings, has also been a part of our culture. In physics, at least in theory, two dimensional beings are not able to perceive and experience a three dimensional world. Four dimensional beings like us are not able to perceive and experience a five dimensional world. One more example is the film Matrix, which interprets our world as a form of mentally-emotionally-simulated world.”

“I represent a generation that experiences both pre-digital and digital revolution, analogue and digital, which for me is an interesting position. Maybe the unconventional concept of space-time is not anymore taken as weird by a generation who has no experience with analogue technology. Perhaps they are not comfortable with analogue paradigm including in education, at schools for example. Why must they do a manual calculation, while they can do it digitally with a computer. Any mathematical concept and equation can be tested, experienced and understood through digital and virtual simulation, not just theoretical anymore. Learning method rooted in analogue and manual paradigm may not anymore be suitable for a digital generation. They experience space and time in a different way than my generation.”

     2.4 Microcosm and Macrocosm
“I don’t describe the experience of doing my work in regards to micro and macro. The closest to it is scaling up and scaling down, or adding and subtracting. This has a lot to do with the technical and engineering aspect of making my work. But the act of scaling up and down virtually is different than the act of scaling up and don’t in a real situation.”

2.5 Complimentary Pairing, Polarity and Spiralling Vortex
“I think, due to the way I approach my work formalistically, most of them ended up having some repeated spiralling curvatures including a Fibonacci curve. I didn’t really intend to create a Fibonacci curve in my works before they were designed. The curves appear after the process of tweaking the degree of rotation and angle at every interval between units. So the curves are the results of my system of working, not something I wanted to have before I design the sculpture digitally. The curvatures came in many characters, including in a form of a Fibonacci curve.  Thus my work can be associated to many things, to Islamic Art, to the motion of particle in a particle collider like the one they have at CERN, to planetary movement, because the system allows me to create a variety of forms that conforms to a universal language of geometry.

     2.6 Inter-connectivity
I think Nolan through his film ‘Interstellar’ speaks about inter-connectivity from two perspectives, science and love. Science is based on logic and empirical evidence, while love is based on the state of your heart, your emotion. At the end of the film, the scientific mind of the main actor had to acknowledge the power of love in crossing space-time boundaries, across the fifth dimension, that had allowed him to communicate with his daughter. Love is a form of inter-connectivity that transcends space-time.  Yet it can’t be explained empirically through science. As far as my own work, some of them do feature fractal and modular kind of inter-connectivity much like Islamic art where a small part or a unit displays similar characteristic of the larger whole. But some works appear more like a classical sculpture where a smaller part appears totally different than the larger whole. Now that you have brought it up, it makes me ponder about this notion of inter-connectivity in my works. Before this, I wasn’t really concern much about it.” 


Geometry as the grammar of harmony and visualization of quantum states, shifts and returns an observer to her or his fitrah or true nature, dissolving the localised frequencies called ‘self’ to be in-synchrony with the non-local symphony of the whole. The folding and unfolding of space-time geometry across dimensions will always depart from and return back to a point of unity, of infinite singularity, the Divine Unity, or in Hagelin’s words, ‘the Single Unified Field of Infinite Wisdom.’

Radiant pattern in Nature

This is an example of the grammar of harmony or quantum mapping in Nature, in this case, radiant pattern of natural architecture, specifically leaf of saw palmetto plant. Nature is perceived in traditional paradigm as a mathematical expression of Divine Unity or in the language of physics, the Single Unified Field of Infinite Wisdom. Eastern forms of traditional visualizations mostly employ such patterns to return observers to fitrah (natural instinct, state and order), to be a part of the Divine Unity. (Buzan: 2001)

Tebar Layar
This is a simplified image of a 'tebar layar' or gable ends of a typical Malay house, inspired by the grammar of harmony in nature, and designed to direct wind into the house to cool the roofing space. Many have beautiful carvings and allow light into the house. The 'tumpal' structure or triangular shape relates to the Islamic cosmology, and can be taken as a form of quantum visualization. The radiant pattern can be related to 'radiant thinking'.

“…geometric expansions provide a metaphor for the law of all phenomena. In as much as space, seen as extension, is created by unfolding through the dimensions – from ‘point’ to ‘line’ then to ‘plane’ and beyond, it can be ‘folded up’ again, leading back to the point of unity (Critchlow: 1976 , p7 in Niranjan Rajah: 2010, p38).

Mohd Fadzil Othman
 "The Element of Surprise" (2008)
, 212cm x 243cm, screws and black threads,
Penang State Gallery Collection.

Fadzil’s work here is an excellent example of quantum visualization, deploying a complex
and tedious manual process of joining threads to create interfering, dynamic and vibrating radiant patterns.
It emulates the underlying grammar of harmony found across both the micro and macro domains
of the phenomenal world.  







Grammar of Harmony, Point of Unity

a.     Five-pointed star in a flower.
b.    Dance of Venus seen from Earth, charted over its eight year cycle creating the heart-shaped set of five petals.
c.     Relative mean orbits of Mercury and Earth superimposed over each other. The Earth orbit contains a five-pointed star and the circle of Mercury’s fits exactly over the inner pentagon of the star.
d.    View under a chandelier and the main dome of Ubuddiah mosque in Kuala Kangsar
e.     Centre section of floor carpet under the main dome of Ubuddiah mosque
f.     Haji Mohd Daniyalai, Asma Al-Husna (2002), Ink Calligraphy on paper (Collection of Muzium & Galeri Tuanku Fauziah, USM)
(i,ii and iii sourced from TPW, Juniper and Skelly: 2010, pp 108, 116, 117)