RHYTHM OF THE UNIVERSE
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).
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 Tiling (Rhombi)" (https://commons.wikimedia.org/wiki/File:Penrose_Tiling_(Rhombi).svg#/media/File:Penrose_Tiling_(Rhombi).svg).
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
(ii)
(iii)
The
grammar of harmony in the Malay traditional visualization
(i)
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.
(ii)
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.
(iii)
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.
(i)
A
composite of two palms with the two curved motion-captured traced lines from a solat movement (similar as above)
(ii)
A
composite of the two curved motion-captured lines from a solat movement with a cross-section image of a nine month pregnant
body,
(iii)
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.
(iv)
A
composite of a Fibonacci curve with a spiral galaxy.
The grammar of harmony from microcosm
to macrocosm.
(i)
The spiralling movements of planets along the trajectory
of the sun (in the middle). Video still from www.djsadhu.com
(ii)
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.
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 https://www.facebook.com/TheResonanceProject/?fref=ts)
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 https://www.facebook.com/TheResonanceProject/?fref=ts)
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).
Cymatics
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 ZenGardner.com
and http://www.bibliotecapleyades.net/ciencia/ciencia_cymatics02.htm).
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
DNA
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)
Diatomeas-Haeckel
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.
(https://commons.wikimedia.org/wiki/File:Diatomeas-Haeckel.jpg#/media/File:Diatomeas-Haeckel.jpg)
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 https://www.facebook.com/jainmathemagics/?fref=ts
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 :
1.
1.
the use of mathematical and schematic principles,
including fractal abstraction (time is
compressed or
expanded and divided into smaller or bigger fractions or units)
2.
Modularity and cyclical formations - that
eventually connote inter-dependency, inter-linked and interlocking patterns
3.
3.
Simultaneity and dynamism - as opposed to
permanency/fixed view
4.
4.
Non-linearity - as opposed to sequence
5.
5.
De-centralization, multiple options, open-endedness
and flexibility, all of which relate to
6.
6.
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
7.
7.
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))
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.”
3. SUMMARY
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)
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