In the Beginning was the Sound – Prologue
A visual and sonic interpretation of Genesis through sacred geometry and musical structure
In the Beginning was the Sound – Prologue explores the act of creation through geometry and tone. Rooted in Genesis and the origins of Western music theory, it reimagines the beginning as a harmonic structure—where light, sound, and time unfold together.
The Beginning: Logos as Sound
“In the beginning was the Word.” But what if the Word was sound?
This series begins with that question. Based on the creation story from Genesis, it reimagines the moment of beginning—not through figurative religious imagery, but through abstraction, geometry, and resonance.
The musical syllables Ut–Re–Mi–Fa–Sol–La–Si originated from the hymn Ut queant laxis by Guido d’Arezzo. Each syllable guided the Western musical scale and now, in this project, echoes the seven days of creation. The sacred becomes audible. The invisible becomes form.
The Sacred Heptagon of Creation
The heptagon serves as a visual structure for the seven days of creation. Each point corresponds to one syllable of the musical scale and one divine act:
Do (Dominus) – God moving over the formless waters. The infinite and eternal beginning.
Re (Resonance) – Day 1: “Let there be light.” The birth of light, the first resonance.
Mi (Miracle) – Day 2: The waters are divided above and below—a miracle beyond physical logic.
Fa (Family) – Day 3: Dry land appears, and plants grow from seeds. The foundation of life.
Sol (Solution) – Day 4: The sun, moon, and stars are created. The order and rhythm of the cosmos.
La (Labii) – Day 5: Birds and sea creatures come to life, praising the Creator through being.
Si (Sanctus) – Day 6: Humanity, created in God’s image—sacred and set apart.
Return to Do – Day 7: Completion, rest, and return to the divine source.
The Full Structure of Creation and Sound
This drawing maps out the conceptual architecture of the series. Each day of creation is connected to a mode of artistic expression—drawing, text, sound, or film—and a central theme such as resonance, separation, time, growth, or divine image.
Rather than a linear chronology, the plan reveals a multidimensional structure: a sacred framework where the acts of creation unfold like chords—through rhythm, geometry, and conceptual layering.reveal a shift from measured abstraction to experiential temporality, laying the structural foundation for the Time Soundseries.
Intervals and Frequencies
To understand sound as a creative force, one must examine its structure. These diagrams analyze musical intervals, their frequency relationships, and harmonic proportions.
The sound spectrum is built on ratios—octaves, fifths, thirds. Each tone is part of a larger system of order. In this project, sound becomes more than a medium; it becomes a law of formation.
Ultimately, the harmonic proportions illustrated here lay the groundwork for what could be called the chord of creation—a cycle from tone to tone, order to return.
Starting from this conceptual prologue, the series continues into the seven days of creation, each resonating through geometry, rhythm, and sound. But before light and separation, there was stillness. And there was movement over the waters.
➤ Proceed to Day 0: 00DOminus, alpha
Artist Notes
Before there was light, there was sound. Before there was form, there was resonance.
Before the visible, there was vibration.
Perhaps it wasn’t light that came first — but the vibration that came with it.
In those days, I often pondered the origin of time.
Could time begin with sound?
Could the act of creation start with a tone?
I tried to draw those thoughts —
again and again, with lines, with circles,
with questions that had no clear answers.
I wasn’t trying to be logical.
I was searching, intuitively,
for the sound of time,
for the rhythm of the invisible,
for the geometry of beginnings.
Since 2012, I had been working on the days of creation — especially the birth of light on Day One — and continued through to Day Four.
In 2014, I came across a brief text about the origin of the Western scale and the symbolic meanings of its tones:
Ut–Re–Mi–Fa–Sol–La–Si.
That simple insight was enough. Suddenly, everything began to fall into place.
Could the seven days of Genesis align with seven tones? What if each day corresponded to a note — each act of creation to a vibration?
From that moment, the way I titled my works changed. No longer “First Day” or “Second Day,” but:
00DOminus – a silent origin 01REsonance – the first vibration 02Miracle – separation and space … and so on.
Each piece became a part of a larger scale— a harmonic sequence unfolding through time.