Crossweaves in the Morphic Field

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Crossweaves in the Morphic Field
Live sound performance with cosmic octave planetary tones, quartz singing bowl, live plant frequencies, voice recordings, and water recordings, 20mins
Printed Matter, January 2020, New York, New York

I use sound as a way to communicate the biggest ideas—holistic in the largest sense and an abstract version of a unified theory. Sound is an excellent medium for conceptually harmonising dissonance. Sight is our dominant sense, but our ears detect a far wider range of frequencies. The eyes respond to an approximate doubling of lightwave frequencies (red to violet), while the ear perceives ten times this range in sound waves. Because hearing is less dominant than vision, it allows more flexibility in our judgement. The sounds here—found and made—traverse macro and micro scales: from cosmic to terrestrial, geopolitical to the body’s topography and plant communication.

The live aspect is critical; its ephemerality demands focused attention. The rawness of performance tethers the cosmic to the tangible. Site- and time-specific water recordings carry resonant frequencies from their origins—water being life’s symbol, a vessel for memories. The alchemy of timeline editing speaks to globalisation, interconnectedness, and communication (cosmic, bodily, interspecies), mirroring unified physics. The Cosmic Octave Planetary Tuning Forks vibrate at each planet’s orbital frequency, the Sun as core tone. These intervals echo universally, from celestial to cellular scales.