Water Sound
Images: The Creative Music of the Universe
by Alexander
Lauterwasser; trans. by Gunter Maria Zielke
[first German edition 2002]
Newmarket: MACROmedia Publishing, USA,
2006
176 pp., illus. b/w, col. Trade, £27.50
ISBN: 978-1-888138-09-2.
Reviewed by Rob Harle
harle@dodo.com.au
Water Sound Images: The Creative Music
of the Universe is a visually stunning
book. The graphic layout and design is
superb with hundreds of full colour illustrations
to complement the text.
Lauterwasser has drawn heavily on the
work of Ernst Chladni and Hans Jenny to
produce this body of work and as a basis
of his own extensive research. This research
involves, "Projecting audible sound frequencies
into small samples of water, delicate
patterns emerge, whose structures mirror
those found throughout the natural world"
("Rear Cover"). Sound may also be used
to excite a metal plate; as the frequency
increases so too does the complexity of
the sound images. Fig. 37 on pages 44-45
features a series of over 200 small images;
their complexity and beauty is quite astonishing.
The book includes an Introduction, Epilogue,
Index, Bibliography and five chapters
as follows: 1 Cosmogenesis and
Sound. This chapter discusses the mythological
and philosophical attributes of sound,
especially in connection with the creation
of the universe. 2 Vibrations and
Sound. Here Lauterwasser looks at the
phenomenological and physical nature of
sound vibrations. 3 Chladni Sound
Figures. This chapter features the pioneering
work of Ernst Chladni with numerous quality
reproductions of his work. It discusses
Oscillating Plates, Resonating Bodies,
and Resonating Life. 4 Water-Sound-Images
discusses and presents, Resonating Water-Drops,
Standing Waves and Self-Organization and
Form-Giving. 5 Water-Sound-Images
(created by music). As the title suggests,
this chapter covers images created by
music. Mozart, Tibetan monks, and many
other examples are drawn upon as Lauterwasser
weaves his story of the connection which
sound vibration has to all life.
This book is difficult to pigeon hole.
As a coffee table production it is outstanding
but it is far more than just a superficial
gloss on the production of sound images;
however, it does not quite gel as an in-depth
study either. I found the excessive use
of quotations very irritating as they
are interspersed heavily throughout the
text on virtually every page. Commensurate
with the research Lauterwasser has done,
I feel the book could have been improved,
or at least become more suitable for a
wider audience if Lauterwasser had used
his own words more and simply acknowledged
the source rather than quoting in full,
ad nauseam.
That criticism aside, I think the book
will appeal to a wide audience, including
artists, cosmologists, philosophers, students,
and all those with a curiosity as to our
connection with the visible and normally
invisible world around us. The book is
inspiring and an excellent resource for
further study and experimentation.
Lauterwasser has been interested in the
patterns and shapes found in nature for
many years; his encounter with Chladni
images was a kind of epiphany, in his
own words. "My first encounter with Chladni
figures triggered something like an experience
of resonance and I felt that the key to
a deeper understanding of the process
of "taking shape" lay hidden in these
phenomena" (p. 165). This book certainly
leaves one with a sense of awe at the
hidden processes of nature.