Eyes Plus Ears

The Lambdoma Matrix is attributed to the philosopher Pythagoras (500 bc) who spent over twenty years as an Egyptian initiate. The concept of the Lambdoma Matrix in the present age is relatively unknown, and is not cited in most dictionaries. On the surface, it appears to be nothing more than a mathematical multiplication and division table. On a closer look however, it bears a one-to-one relationship to musical intervals in a very specific harmonic series. Because of its numerical framework of ratios, it can be translated into frequencies of audible sound. The Lambdoma bears relationships to aromatics, chemistry, crystallography, cybernetics, art, music, geometry, all of which may be explored by those interested in the above disciplines. The Lambdoma bears mathematical relationships to Issac Newton, the Diophantine equations and the Farey series, as well as in the present century to Georg Cantor.

The book "Eyes + Ears = Ideas"* is the main body of this site!

It can be seen as a visual and philosophical foundation for some of the concepts which are inherent in the Lambdoma Matrix. This book was the result of a visual artist trying to interpret the matrix as a template of some of the truths to be unearthed in an ancient archeological site of a geometric musical grid field, where each note is colored according to Pythagoras' and Newton's color-coding of musical notes. The color coding of the notes is as follows: C's reds, D's oranges, E's yellows, F's greens, G's blues, A's indigos, B's purples. When you look at each page, you may even play the notes by color or letters on a musical instrument as if reading a score.

The art on the following pages was all done (without a computer) in the early 1970's as attempts to visualize the shapes of sounds, based upon the model of the Lambdoma grid. The tools were only compass, straight edge, pen and colored markers. Most importantly, it only took a willingness to experiment with wavelengths of sound, according to the ratios imbedded in the Lambdoma array. These ratios bear a one-to-one relationship to specific musical harmonic intervals. Any given length may be divided into one-half to one-sixteenth segments, which include a scale of eight harmonic musical intervals from P, Q, R, S, T, U, V, and W, or from A to Z of twenty-six micro tonal intervals.

Visit Lambdoma.com. Barbara Hero invite you to also visit the Strawberry Hill Farm Studios web site,
where here Lambdoma related products are listed.