The expansion of the Universe is a theme that worried Alvy decades ago during his childhood, the protagonist of the famous film Annie Hall by Woody Allen. This expansion, which is also the origin of a Universe inscribed with the history of the cosmos, is one of the great themes of astrophysics. In fact, in our relationship with what concerns the Universe, it seems that science is the only valid approach tool for a space that, lacking precise borders, is the only territory delimited by a holistic temporality. And for the hegemony of scientific discourse as the only possible story when it comes to producing knowledge about the unknown.
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This Universe that expands is also a Universe that sounds. Although for years it was considered a silent place due to the impediment for the transmission of sound waves due to the vacuum, currently the acoustic dimension of the Universe is a fact and a conjecture. Moreover, there are particular cases in which the sound takes center stage over 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 radio telescope.

In relation to this hegemony of the image within our culture, cymatics arises in 1968, when Hans Jenny gives a name to the representation of sound waves on matter. Outside the strictly scientific sphere or Western culture, this representational attitude already existed before cymatics itself. From Leonardo da Vinci to Asian mandalas, the will to visualize such an ephemeral and abstract thing as sound would have to wait for technological development to achieve a scientific visual translation. And, consequently, grant it legitimacy.
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Although numerous contemporary artistic practices have dedicated themselves to dismantling the myth of scientific objectivity, it is also true that many others have chosen to prolong the fascination that surrounds 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 theses of scientific discourse based on cymatics, this installation proposes an aesthetic interpretation in which art does not simply appear as a welcoming 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 rather builds a special acoustic device in which the Universe, like the white cube, rejects the stigma of silence that weighs on it.
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Geometries of the cosmos is also a project that demonstrates the effectiveness of research from the field of art. Part of the doctoral thesis of the same Lega, which, like the scientist, is capable of developing a consistent theoretical work linked to the regime of academic knowledge. Now, unlike the scientist, the artist can allow himself to go further and test a new architecture for knowledge from the aesthetic experience. In this case, the conversion of the exhibition hall into an auditorium of intermittent pulses.

Sonia Fernández P. (Fuga catalogue, Variations on an exhibition).