he expansion of the Universe was a topic that Alvy had been disturbing for decades during his childhood, the protagonist of the famous film Annie Hall by Woody Allen. This expansion, which is also the origin of a Universe that has inscribed the history of the cosmos, is one of the great themes of astrophysics. In fact, in our relationship with that which concerns the Universe, it seems that science is the only valid approximation tool for a space that, in the absence of precise borders, is the only territory delimited by a holistic temporality. And for the hegemony of scientific discourse as the only possible account at the time of producing knowledge about the unknown.
This Universe that expands is also a Universe that sounds. Although for years it was considered a silent place due to the impediment to the transmission of sound waves due to the vacuum, at present the acoustic dimension of the Universe is a fact and a conjecture. Moreover, there are particular cases in which sound gives prominence to the image when it comes to knowing empirically some bodies of the Universe. Black holes are a paradigmatic example, since they can only be perceived thanks to a radiotelescope.
In relation to this hegemony of the image within our culture, the 1968 arises the cimàtica, when Hans Jenny gives a name to the representation of the waves of sound on the matter. Outside of the strictly scientific scope or Western culture, this representational attitude already existed before the same cymatics. From Leonardo da Vinci to the Asian mandalas, the will to visualize something as ephemeral and abstract as it is the sound would have to wait for the technological development to achieve a scientific visual translation. And, consequently, grant it legitimacy.
While numerous contemporary artistic practices have been devoted to dismantling the myth of scientific objectivity, it is also true that many others have opted to prolong the fascination surrounding scientific discourse. Generally, prioritizing an aesthetic attitude around technology. With Geometries of the Cosmos, Ferran Lega would place art in relation to science in an intermediate position. Assuming the thesis of scientific discourse from the cymatics, this installation proposes an aesthetic interpretation in which art does not appear simply as a host context. Geometries of the cosmos is an essay for a visual interpretation of sound away from the centrality of the image. A representation that does not repeat two-dimensional parameters, but constructs a special acoustic device in which the Universe, like the white cube, rejects the stigma of silence that weighs on it.
Geometries of the cosmos is also a project that demonstrates the research effectiveness from the field of art. Part of the doctoral thesis of Lega himself, who, like the scientist, is capable of developing a consistent theoretical work linked to the academic knowledge regime. Now, unlike the scientist, the artist can afford to go further and try a new architecture for knowledge from the aesthetic experience. In this case, the conversion of the exhibition hall into an intermittent pulsars auditorium.