Research has suggested that many captured visualizations of cymatic frequencies have been generated by practical experiments utilising the Chladni plate, with dry particulates, or a petri dish with water. Aside from the KIMA installation, there are limited numbers of examples where software algorithms have been successfully used to intuitively generate accurate renditions of cymatic frequency, in real-time with source music during a performance setting.

Woolman (2002) provides early century examples of software generated visualization for music, with Akira Rabelais’ concept for ‘Aural Mutations’ being particularly interesting. A key factor to note with this example and the other contributing artists in this publication, is the common hybridity of technology and physical art. The combination of texture and colour are typically rendered together using a fusion of physical art pieces and projected lighting, as with Glenn McKay’s piece, ‘Liquid Sound’.

None of the works within utilise cymatic frequency, but the principle is present. I have decided to include this publication into my annotated bibliography due to detailing early millennium concepts of music represented visualization. Although this is perhaps neither particularly current or relevant compared to modern capabilities, it demonstrates a fusion of practical and technological concepts that may be necessary for cymatic frequency in a performance setting.

Another good example of mixed visual sources is the utilisation of filmed media in unison with multiple software applications, as demonstrated in the video below.

(Vucinic, 2012)

Here Jovan Vucinic displays his experience of software applications, encompassing Maya, Quartz Composer and Unity together with VDVX to produce an effective visual performance for ‘Steeper’ by Fis. This is great to watch, with every beat and timbre generating a swift, flashing transition to the diverse visual material on show. However, as Vucinic specifies, this is triggered by human interaction in time with the music using a MIDI controller. I expect there are certain elements intuitively generated by the software in use, as VDVX itself is capable of reacting to frequency and volume. Nonetheless this does not necessarily include intuitive software triggers which are inherent to cymatic frequency response.

Again I begin to question whether software applications are capable of generating visualized cymatic responses to audio? Do such algorithms exist? Can computer programming and mathematical algorithms replicate these frequencies?

Further research has led me to understand that visual formations typically associated with frequencies subjected to a Chladni plate, can be accurately replicated using concise mathematical equations. Unfortunately, this initial finding is not from a peer-reviewed paper, however other sources are beginning to reveal the origin of this information is indeed accurate.

Plunkett (2015) has produced a series of digital magazines to support his cause for various art installation and architectural projects, some of which have the principles of cymatics at their very foundation. His Burning Man issue captured my eye with particular interest towards the double page spread showcasing 2D and 3D examples (see featured image) of cymatic frequency visual patterns generated from formula (Plunkett, 2015). Personally, I do not regard myself highly in understanding mathematical equations, they appear as another language on paper to me. However, attempting to grasp the concept of the experiment has given me a stronger understanding of the principles for scientific research.

As Rossing (1982) presented in his research paper from the early eighties, and more recently, Zhou et al (2016), there are precise cymatic principles that can be achieved on a Chladni plate, through applying equations during practical experiments. Whether this methodology is simply a way to accurately define which shape on the Chladni plate will form, or whether it can be reverse engineered into a software application remains to be seen.

Reflecting upon finding this information, really has me questioning my capability to understand the complexities of cymatic frequency, mathematics and software algorithms. Is this beyond my capabilities as a creative? Is this relevant to my work? I will continue my research and as I stated before, look towards the capabilities of software applications that can create intuitive visuals on the principles of cymatics, not necessarily involving specific frequency formations.

References:
Woolman, M. (2002) Sonic Graphics: Seeing Sound. 1^st ed. UK: Thames & Hudson.
Vucinic, J., (2012) Vimeo. [Online]. Available at: https://vimeo.com/56292984. [Accessed 18 October 2017].
Plunkett, T. (2015). ‘Cymatic System Supplementary’. issuu. [Online]. Available at: https://issuu.com/tobyplunkett/docs/systemsupplementary_150. [Accessed 21 October 2017].
Rossing, T.D. (1982). ‘Chladni’s law for vibrating plates’. American Journal of Physics 50, 271–274. doi:10.1119/1.12866
Zhou, Q., Sariola, V., Latifi, K., Liimatainen, V. (2016). ‘Controlling the motion of multiple objects on a Chladni plate’. Nature Communications 7, ncomms12764. doi:10.1038/ncomms12764

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