TULPA IN 19 hz: REHEARSAL OF ACT II
Lab Notes: the 19 Hz Metamorphosis
Project: the Lynchian Tulpa (formerly “Sunglasses at Night”)
Stage: pre-glaze / transition to Final Act (Shadow Gallery)
The journey began with a frequency of pop-urbanism - strong rhythmic impulse got from the Tyga and Zynterius track “I wear my sunglasses at night”, mixed with some kind of feeling related to Japanese aesthetics. The initial sketch captured this - a modern, pop-art silhouette of “cool” detached girl in “Setsunai” mood. In this stage, she was an object of the Urban Epilogue, a figure of the mundane city. But the Matter refused to host the original idea asking for a different frequency. As the clay took shape, something Lynchian started to emerge. Perhaps Audrey… So, the girl from the Urban Epilogue was replaced by a Tulpa from the Shadow Gallery - a though form that achieved its own autonomy during the sculpting process.
In the process of creation, there was a moment where I felt that the Tulpa’s signals received from the “other plane” becoming too high and distorted. She was beginning to lose her own signal, slipping away from the tangible world and dropping into 19 Hz void - the liminal space, where the psyche dissolves into dread and static. To balance her state, I introduced the symbolical cigarette - like an alchemical Ignis, producing familiar, rhythmic frequency that “tunes” the Tulpa back from the “fog”, letting her stay “connected”. However, she is still in the loop, her signal is never secured. In the Theatre of Matter, the metamorphosis is never static, and the Viewer is always left to wonder… It’s a dream-logic, I don’t fully understand myself…
I hope, that the forthcoming glazing process will be a successful challenge.
Lexicon:
Tulpa (Thought-Form): derived from Tibetian mysticism and later adopted into Western occultism, a Tulpa is sentient entity created through sheer mental discipline and concentrated creative will. David Lynch creates Tulpas from a seed or a small golden pearl, as a copies of persons, thus creating a feedback loop where “original” and “copy” exist simultaneously. Lynch often uses them to satisfy a specific purpose or to act as a vessel for soul. They often struggle with their own physical reality, eventually degrading and returning to a primal, non-human state, collapsing into a pile of gold dust and tiny silver seed.
19 Hz: in acoustics, this is the “Ghost frequency” or “Infrasound” - a vibration just below the threshold of human hearing that is known to cause visual distortion, a sense of “presence” in the room, unexplained melancholy or dread. While the ear cannot hear it, the body feels it. In David Lynch universe, frequencies are the invisible architecture of the subconscious. His sound design (developed largely with Alan Spelt and Dean Hurley) treats frequency as a metaphysical dial. Lynch uses sub-bas frequencies (10—40 Hz) to create a sense of presence. He also uses the electrical static (high frequencies). Electricity for him is the carrier wave for spirits and information. High-pitched buzzing, the crackle of a transformer, or the “snow” on a TV screen represents a transition between words.
Finished!
Prepared for the transformation at the kiln
From the “Sunglasses at night” to the “Tulpa”