visible music

There is a certain kind of painting that I like so much. This image also often come to my eyes when I close them after some meditation. I recently realised that it is just some visible music!I would like you to post a pic for me about this painting. Consider wood grains. It has a series of curvy lines one above the other like some fingure prints. In between the lines paint it with some color. Then in between the next two lines, paint it with another colour. Do so with varying colors until you have painted the entire 'wood'FOURIER MUSIC:)I did realise that different colors are different levels of frequency. It is in the same way different notes of a guitar are different levels of frequency. In an OCTAVE, There are doh, ray,mih,fah,soh,lah,tih and doh'. There are 8 of them. Rainbow is often divided into 7 colors; red, orange, yellow, green, blue, indigo and violet. This too forms a whole octave as ultraviolent is exactly twice the frequency of infra-red.Generaly, music proceed as some series of notes seperated in time. We compose music this way;1.)Partition some period of time into small durations. For instance partition some 5 minutes into 7.2.)Each of the 7 subdurations should not necesarily have the same amount of time.3.)Asign an note that last for the period of the first subduration. Then asign a note of different frequency that last for the next subduration. Do so until you fill in all the 7 subdurations.To paint the colors, you let space be analogous to time and color be analogous to note.ACCOMPANIMENTS AND RYTHM.The partitions for rythm should be of equal spacing. Then fill in with only blak and white. This mean that this next painting ovelaps with the earlier to modify the hues of the previous colors. For the 'guitar' accompanyment, make some other subintervals and paint with with just the primary colors.Lets try this game to see how beautifull such a painting might be. Lets watch music!:)

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DIDACTIC OF SELF-KNOWLEDGE-CHAPTER THREE


                                                                                     III

                                                               THE CURRENT OF SOUND

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