Sacred Geometry in New Media

The term ‘sacred geometry’ is one that is sure to appear sooner or later to anyone who spends time reading ancient history. References to it can be found in books and articles ranging in subject matter from architecture to religion to travel guides. It has been one of the arcane arts of the conspiracy theorist, going hand-in-hand with numerology and other psuedo-sciences of the ‘hidden’ (or occult.) It is even hitting pop-culture, for example, with Dan Brown’s speculated upcoming novel Solomon’s Key. Finally, as we will see, it is an influencing factor in the production of media in the digital age. Unfortunately, it is a rare instance to find an explanation in any of these writings of what is meant by sacred geometry.

This may stem from the equivocal nature of the term- especially before the advent of a universal mathematics system, what was “sacred” in geometry varied from one culture to the next. Even now there is likely to be some cultural bias. In its simplest terms, sacred geometry is simply a pattern or design that is now or was previously considered sacred. This has traditionally been thought of as geometry that can be found in nature and, as such, is attributed to a God or higher power. However, as a working definition, this doesn’t go much further than tautology.

Archaeologists use the term to cover many different items and depictions produced by various cultures throughout history. Some of the most notable examples of sacred geometry can be found in the Egyptian and Mayan pyramids as well as Stonehenge. When reference is made to sacred geometry, say in the Mayan temples, that reference is usually pointing out the man-made representations of these naturally occurring patterns.

This is the real puzzle. The sacred geometries of cultures disconnected both in space and time contain the same mathematical principles. This points either to a mathematical universality, or a human one.

One of the most well-known example of this is Pi or π (3.14159…). Pi, of course, is used to calculate the circumference of any circle. Regardless of the size, the circumference of any circle is diameter multiplied by Pi (C= πd). This means that no matter how big or small a circle is, if you dived the circumference of that circle by its diameter, you get 3.14159…or Pi. It is easy to see, even with this simple example, how this shape can be seen as sacred.

A slightly less well-known but equally important aspect of sacred geometry is referred to as the golden ratio. The golden ratio is the mathematical break down of a spiral shape, such as that of a snail shell. It is a relationship of parts that can be seen in every corner of the animals, vegetables, and even minerals of the Earth. The principal factors of the golden ration are Phi, or φ (1.61803…), and something called the Fibonacci Series. The Fibonacci Series is a pattern of numbers defined as 0,1,1,2,3,5,8,13,21,34… or a + b = c then b + c = d then c + d = e and so on. What makes the golden ratio unique is that the ratio between a and b is the same and the ratio between b and c. The ratio, of course, is equal to Phi.

Another part of the golden ratio is something called the 3:4:5 proportion. This principal states a consistent relationship of scale which can be seen in the architecture of many cultures, and which is stated explicitly in texts on Masonic architecture.

It seems that once you are aware of it, you see it everywhere. The golden ratio can be found in the make-up of the five-pointed star, DNA, proportions of the human body and much more. Notions of the golden ratio’s manifestation in the natural world as well as its appearance in ancient architecture has been highly contested by some as bias recognition, however, it stands to reason that the building blocks that structure our reality adhere to consistent proportions.

It has also been noted that man-made forms that adhere to these principles are both functionally and aesthetically superior to those that do not. Perhaps it is this element of intrinsic beauty that has led many artists, both ancient and new age, to use these principles as well as depictions of sacred geometry in their art.

Examples of sacred geometry in art can be seen in everything from the mundane, like the pyramid and stars on the U.S. dollar, to the extravagant, like the golden ratio proportions in Leonardo da Vinci’s depiction of the Last Supper. Sacred geometry is not limited to old media, or tangible media, like a printed dollar or a painted canvas. This ancient method is used quite often today as a formula for new media works of art.

These new media pieces come in the form of digital graphics. Whether it is a video or a still, completely digital or a mixture digital and traditional, these techniques continue to utilize the same underlying principles. Artists have been able to take the ancient application of sacred geometry and turn it in to modern day functional art. This reinvention of sacred geometry as a component in the digital world has demonstrated the genius of the ancient scholars. Their methods and principals have been able to, not only pass the test of time, but also hold up against technological advances beyond their wildest dreams. Of course, many of these principles are internalized. It’s unlikely many are intentionally using sacred geometry in their work, although some do.

One example of such an artist is Ocularum Psyberdelix. His work can be seen in the design of websites, in background projections played at parties, concerts, and in music videos, as well as in the traditional print form. This is indicative of a trend that can be seen running through various outcroppings of post-rave, new age, psychedelic and psytrance cultures. If you frequent any such events, and you open your eyes to it, you will see elements of sacred geometry all around you, in the patterns of light dancing across the walls, in the rate and duration of musical rhythms, even in the logos and brands these artists use to represent themselves.

(This video was part of a projection series used for the electronic music collective Elektroworx, oftentimes re-arranged for new shows. This particular version was used at the Trocadero in Philadelphia when Elektroworx opened for the long-standing Belgian industrial group, Front242.)

By Janine Logue