I present for your perusal, an extended ABSTRACT of my current paper “Origins of Form” (C.Foster, 2015) invited for consideration by the MIT Journal ‘Leonardo’ editorial board. My previous paper “Electroacoustic and Computational Feedback Synthesis” (C.Foster, 2011, CEC) outlines and demonstrates the methods and results of a new and unique sound synthesis method discovered.
Here the entire Abstract, with a PDF version is available for offline reading: Origins of Form 5vr1.PDF (5 pgs, 833 KB).
Origins of Form
by Campbell Foster
camfos (at) gmail (dot) com
Sonological Research Blog RS4, http://campbellfoster.ca
16 September 2015
Through the identification of emergent anomalous forms of Electroacoustic and Computational feedback synthesis soundscapes and visual (Spectrogram) outputs, and comparative research into Nature phenomenon, orb photography, sacred geometry, dark energy, and the subtle body energies, deep insights into form and its origins were discovered and are outlined here.
Form originates from the infinitely subtle (-infinity dB) to the most complex iterations (dBm) as complex sounds are iterated, grown, and multiplied into existence by seeding the feedback loop with a sound sample Emitter in the method of electroacoustic and computational feedback synthesis. Soundscapes are synthesized mechanically (Electroacoustically, with the Electroacoustic Sheet Metal Feedback Phone), and digitally (Computational, in real-time) by using the process or phenomenon of feedback in which some portion of the output of a system is returned to its input for the synthesis of sound1
The feedback synthesis (FBS) loop is chaotic (extreme sensitivity to initial conditions, cause and effect are not proportional, nonlinearity, topological mixing), and fractal (scalar self-similarity, irregularity locally and globally, emergence, turbulence, strange attractor and Iterative function system behaviours). Generated soundscapes and visuals (Spectrograms) exhibit fractal and chaotic outputs including forms generated from the topological mixing of all sound parameters; pitch, time, amplitude, and stereophony.
To identify the emergent forms generated by feedback synthesis, I looked to Nature to find similar morphologies. Where FBS produced pitch branching over time, I found branching in tree structures in Nature. Where FBS produced a constant rising of pitch, I found tree structure branches always rising upwards to lesser gravity. Where water sounds may be slowed down or sped up and sound fractally the same, I found FBS time stretching, amplification, and Spectrogram analysis to reveal scalar and self-similar micro-sonic detail. The gentle fractal curve of the outline of a leaf was similar to the amplitude envelope outline of frequency spectrum graphs of FBS outputs2.
Looking deeper into FBS and comparatively Nature, the retrograde investigation of smaller and subtler origins of forms, pointed always to a vector of a source origins realm, a generative scheme of infinite possibilities also embodied in the tabula rasa feedback system loop energized by amplification (expansion) with the potential to generate sonic and material objects through iterative growth. All forms traced and pointed back to a profound iterative source origin, made fractally of itself, smaller and finer elements reduced to atomic particles then further to the energetic and non-particlulate realms, finally to pre-material and pre-energetic realms, the unpercievable realm of the unseen worlds of dark matter, chi, expressed in the manifestation of Nature, the bodies’ subtle energies, space, time, energy, matter, and the primary forces.
With the cosmological accounting of the weight of the universe, we found that Dark energy constitutes 68%, and Dark Matter 27% of the unpercievable cosmos. All matter and particles makes up only 5% of the total universe3. One characteristic of this dark (unseen) energetic realm is the accelerated expansion of space in all directions. This exemplifies some primary characteristics of this ream; transcendent quantities, expansion, emergence, growth, the manifestation of space, and therefore time and the material.
We can directly experience the nature and outcome of this ‘pre-aetheric’ realm as life-force, chi energy, or dark energy which exists in all matter and especially organic living objects and bodies. It is sensed through the subtle body energies, meditation, and the deep emotions (beliefs), the faint and attractive emergent energy of our being, the formation of cogent thoughts in the moment of consciousness experience of it, and the positive growth and energetic management of our bodies as systems, driven by this realm and resulting life forces. Nature, life, and our being, are direct expressions of the characteristics of this primary realm.
Through the practice and experience of Qi Gong, Reiki, Accupuncture, meditation, and mindfulness, for example, we can cultivate, manipulate, and direct these subtle body and unseen universal energies outcomes (both internally and externally) for medical, martial, and spiritual benefits to the individual. This realm transcends form, space, time, matter, and energy, though is not yet directly measurable in a scientific way. Due to its infinite character, it can only be experientially validated through our interaction with it, observed as the outcomes, behaviours, and forms of Nature, and our own expression of being experienced through consciousness and life.
The double-slit experiment of quantum mechanics proves that the mind (and body) are able to externally effect energy and matter and congeal probablilities of electromagnetic energy into discrete photons of light, our consciousness working in this timeless, formless, quantum realm.
Abberrations to photons an low light level phenomenon were observed and captured on film in series of orb photographs. Orb forms (fig. 1) were captured using HDR (High Dynamic Range) photography taken using a flash in large ambiently lit atriums capturing performer and audience created light traced spherical orb shapes. On processing, subtle orb based geometric forms appeared with an apparent spatial connection to the performers. This appears to be photonic disturbance created by the consciousness of the performer projecting their observation into this unperceived realm, collapsing probabilities into photon particles. A imprint in reality was created by the performer (and energetically contributed to by the some audience members) when playing and projecting their conscious intention and instruments’ sounds into a performance environment, emerging from the quantum realm to create subtle photonic disturbances with sacred geometric attributes.
This elusive and imperceivable universal singularity, unmeasurable and pre-empting the manifestation of energy, force, space, time, and matter, emerges first with; the perfections of sacred geometry, pure atomic and crystalline structures, the perfection of mathematics, the fractal geometry of nature5, life form structures, harmonic and fourier relations, the primary geometric forms and organizations found in nature, being and consciousness, and the known existential universe.
Fig. 1 Orb Photograph. Introduction to the live soundtrack performance to the film “A Trip to the Moon (1902)”, Ontario Science Centre. Note the orb, a perfect 7 layer low light level photonic aberration existing at the exact point that I projected an intense verbal and visual depiction, hands tied with headset gear, and energetically added to by audience members. The Electroacoustic Sheet Metal Feedback Phone is shown to the left of the author.
Sacred Geometry is a term used to describe patterns, shapes and forms that are part of the make up of all living things and that regularly occur in nature. It is system of universal design in which the energy of creation organizes itself into form.
More validation of this realm emerged with various sized Pyramids, designed and constructed to sacred geometry dimensions, and operating on a pre-aetheric level, to collect and amplify biocosmic life energy (Dark energy, Chi) through their inherent shape perfection and Phi dimensions. Some proven effects; enhanced plant and animal growth, food taste enhancement and preservation, razor blade sharpening, direct experience of higher levels of life-energy, and positive healing results6. The Pyramid energy is all positive with documented effects and is greatly amplified using large ring magnets, and Tesla bifilar coils incorporated into the structure and design.
Fig 2. A nanographene molecule, exhibiting atomic bonds in green, denser areas of the atom in red. “Bond-Order Discrimination by Atomic Force Microscopy”, IBM Zurich Research 2012. Available at http://www.sciencemag.org/content/337/6100/1326.
Observation and practice continued to point to finer and subtler source origins in the investigations of Electroacoustic and Computational feedback synthesis, Nature, orb photography, sacred geometry, dark energy, and life energy. Complex sonic forms exhibiting fractal similarities to the low amplitude and short duration Emitter seed samples generated iteratively, formed a vector of ever decreasing amplitudes reduced to the imperceivable. In the upward and cumulative direction, a manifestation of increasing complexity and scale of form, we observe the character of this subtle ultimate originating ream in its infinite manifestations of the primary forces, nature, energy, sound, matter, space, and time.
Analysis of form from the complex composite material, to the finer atomic, then finer energetic and force origins, point to an even subtler quantum realm and unseen omnipresent pre-medium, infinite in quantity, space, time, and pre-empting material manifestation. Expressed in the forms of Nature and its fundamental forces, prana, Qi, matter, space, time, and energy, life energy. It is unmeasurable, and experienced by the human body on a profound being and consciousness moment, giving and sustaining life, with workable interactions, pre-existing in all forms of matter, space, and time, expressively and theosophically called Spirit, and relationally and experientially called love7.
Foster, Campbell. “Electroacoustic and Computational Feedback Synthesis”, TO Canada, 2011. Available online at: http://econtact.ca/14_4/foster_feedbacksynthesis.html [Last accessed 11 September 2015].
Ibid. Figure 14. Frequency response graph of feedback sound generated with a tuned loop (Kennedy’s Journey).
Dark Energy, Dark Matter, NASA Science | Astrophysics. Available online at: http://science.nasa.gov/astrophysics/focus-areas/what-is-dark-energy/ [Last accessed 12 September 2015].
The Fundamental Forces of Nature, University of Tennesee AstroWiki. Available online at http://csep10.phys.utk.edu/astr162/lect/cosmology/forces.html [last accessed 11 Sep 2015].
Mandelbrot, Benoit B. The Fractal Geometry of Nature. W.H. Freeman & Co. Ltd., 1977.
Russ, Michael. HEALING PYRAMID ENERGY, 108 pgs. Available online at: http://www.goldenkeylibrary.info/healing-pyramid-energy/ [last accessed 12 Sep 2015].
UNIVERSI AMORIS (All Love). [MP3] 11:56′, 16.3 MB, Snd. 1. Soundscape descriptor created using Computational Feedback Synthesis by the Author, 2015. Available online at: http://campbellfoster.ca/2015/04/21/universi-amoris-piece/ [Last accessed 12 September 2015].
– Cf Sep. 2015, Toronto ON Canada