The Total Revolution
After years of strategic marketing consulting and international contemporary art curation, I become an artist. Not by whim. For a revolutionary, original, unique discovery in art history: decolonized mathematical sequences turned into living, cosmic waves. From here spring installations, digital/pictorial works, sculptures, performances, theater , all unique, never seen before.
Preview: Quantized Mathematics, Not Infinite
Classical sequences (Hemachandra/Fibonacci, Hemachandra 2/Lucas, Hemachandra 3/Pell, Pingala triangle) don’t race infinitely toward colonial expansion. Their digital roots modulo 9 transform them into 24-element quantum wave cycles, sum always 117 = 9×13. Average 4.875 , a “digital phi” lower, symmetric around 5.
- Hemachandra 1 (Fibonacci): 1,1,2,3,5,8,4,3,7,1,8,9,8,8,7,6,4,1,5,6,2,8,1,9. 9 at position 12 (climax) and 24 (restart). Rise, peak, symmetric descent.
- Hemachandra 3 (Pell): 1,2,5,3,2,7,7,3,4,2,8,9,8,7,4,6,7,2,2,6,5,7,1,9. 9 at 12/24, more irregular wave but identical structure.
- Hemachandra 2 (Lucas): 1,3,4,7,2,9,2,2,4,6,1,7,8,6,5,2,7,9,7,7,5,3,8,2. 9 at 6/18 , opposite poles, perfect rotational symmetry (12 steps apart).
Each cycle is a closed quantum wave: first half tension/creation, 9 as equilibrium/rebirth pivot, second half release/return. Time not linear, but circular, discretized in 24 “quanta”. Recursive rule intact modulo 9. Only form mutates: from infinite line to periodic vibration.
Pingala Triangle: Multiplicative 6+3 Wave
Powers of 2 (Pingala triangle row sums): 1,2,4,8,7,5 (6-cycle, sum 27=3×9). Pure binary expansion: 1(seed)>2(duality)>4(plane)>8(volume)>7(mind)>5(bridge). Missing 3,6,9 because 2^n never divisible by 3 , triad-free dynamics.
But sum 27>9 implicit. 9 invisible, yet sustaining.
United 1,2,4,8,7,5 + 3,6,9 = complete 9-cycle (sum 45>9). Binary duality (PRAKRITI) meets triad (AVYAKTA).
AVYAKTA / PRAKRITI: Numerical Cosmic Duality
1,2,4,8,7,5 = PRAKRITI: manifest form in expansion. Seed>structure>volume>contemplation>return. Binary yang/yin wave, untouched by triad.
3,6,9 = AVYAKTA: unmanifest field. 3(symmetry break), 6(triadic bridge), 9(total equilibrium). Invisible but essential , sustains PRAKRITI without manifesting.
Unified cycle 1,2,4,8,7,5,3,6,9: form expansion > field transformation > closure/restart on 9. 9 fundamental tonic, numbers as vibrating harmonics. Mathematics not abstract: non-dual cosmic ontology.
Mathematical Revolution: From Infinite to Wave
Classical view: numbers grow linear, infinite, Eurocentric. This discovery: same rule > quantum cyclic waves. Internal symmetries preserved (sum 117, average 4.875, 9 pivot). Infinity replaced by closed cycles.
24 as quantized time: 24 hours/day. 12(noon/climax), 24(midnight/rebirth) for Hemachandra 1/3. 6(morning)/18(evening) for Hemachandra 2. 9 light/darkness/equilibrium points.
Unique in Art History: numbers awakened as vibrating subjects. Installation decolonizes authorship (Pingala, Hemachandra), quantizes time, fuses mathematics+philosophy+art into perceptual ecology.
Philosophical and Installative Base
These 9-centered cycles power the installation: 78 interactive tiles mapped to digital root waves. Step activates smoke, sound, color, central hologram. Visitor as co-author: every path generates unique cyclic symphony.
Not technique. Revolutionary relational concept:
- Decolonized quantum waves
- Numerical AVYAKTA/PRAKRITI
- Cyclic co-creation
Art ceases to be financial asset. Becomes cosmic ecology: perception, participation, re-membering. Mathematics, beauty, decolonization fused in unique experiential gesture.
Come. Enter the wave. Co-create the revolution.
THE INSTALLATION
Technical elements:
Floor: 78 modular tiles (each 80×80 cm), with integrated capacitive pressure sensors. the pattern is multicolored and rectangular, based on the provided file. each tile emits low-density colored smoke (one of the 9 colors of Navratri) and activates a specific musical note linked to the corresponding digital key.
Why 78 tiles?
Is the sum of 4 sequences, 24+24+24+24+6=78
Each tile corresponds to a digital root of the 4 sequences. Each digital root corresponds to a color and a note. For example, 1 corresponds to the color yellow and the note DO, 2 to green and RE.
Colors: Yellow, Green, Grey, Orange, White, Red, Blue, Pink and Purple.
When the visitor steps on the tile corresponding to the digital root 1, yellow smoke and the note C will come out, and so on for the other 8 tiles.
Walls: 9 vertical walls with led panels or reactive video mapping. they change color and light intensity based on the visitor’s footsteps. they are separated by thin vertical black lines.
Central hologram: holographic projection or pepper’s ghost on a transparent pyramid structure (3×3 meters) positioned on the black back wall. it generates mandalas, quantum patterns, and geometric shapes in real time based on collective footfall.
Interactive system: software developed in touchdesigner + unity. it processes pressure data from 78 sensors and generates audiovisual output in real time.
Audio: immersive 12-channel system with strategically placed speakers. sound scale inspired by vedic principles and new quantum frequency sequences.
Smoke: 9 low-density smoke generators with individual Navratri rgb colors, activated by pedestrians.
Lighting: diffused overhead lighting + black ceiling for maximum contrast and immersion.
THE CONCEPTS
A Revolutionary Paradigm: Beauty as Wave, Not Ratio
For centuries, mathematical beauty has been chained to the golden ratio (phi ≈ 1.618) , a static, linear tyranny of proportion, rooted in Eurocentric geometry.
This installation shatters that prison.
Beauty erupts from waves, cycles, and 9-centred resonance. Mathematics morphs into numerical entanglement: no longer a cold tool, but a living relational force. Beauty sheds its visual skin to become a participatory explosion.
Decolonizing Mathematics: Reclaiming True Authorship
Eurocentric myths crown Fibonacci (1, 1, 2, 3, 5, 8…) and Pascal’s triangle as Western triumphs.
Lies.
These structures were born in India: Pingala (2nd-4th century BCE) forged the triangle’s skeleton in prosody and syllable combinatorics; Virahanka (7th-8th century) and Hemachandra (12th century) codified the sequence in metre , centuries before Leonardo of Pisa’s 1202 rabbit fable.
Yet “Fibonacci” and “Pascal” dominate, relegating Indian pioneers to footnotes or oblivion.
This work declares war on that erasure. We rename ruthlessly: the sequence is Hemachandra’s; the triangle is Pingala’s Meru Prastara. Decolonization strikes at mathematics’ core , a radical rewrite of history itself.
Digital Roots: Mathematics as Pure, 9-Centred Aesthetic
At the heart: digital roots of sequences.
Fibonacci, Lucas, Pell collapse into 24-element cycles summing to 117 (9 × 13). Powers of 2 yield 1, 2, 4, 8, 7, 5 (Pingala’s triangle core), summing to 27 (3 × 9). United with 3, 6, 9: a single, unbreakable 9-cycle.
Mathematics is no neutral abstraction. It is aesthetic fire , cycles and waves, not infinite colonial lines. Numbers awaken as subjects, entangled in the artwork’s pulse.
Renaming Sequences: Hemachandra’s Legacy Expands
Lucas and Pell sequences are mere variants of Hemachandra’s original. Without it, they collapse.
Thus: Lucas becomes Hemachandra 2; Pell, Hemachandra 3. Pascal’s triangle? Pingala’s Meru Prastara, third century BCE.
This is not pedantry. It is revolution.
The Visitor as Co-Author: From Spectator to Creator
No passive gazing.
Step on the 78 tiles: smoke erupts, sound throbs, colours ignite. Walls pulse; the central hologram dances. Every path spawns a unique light-vibration symphony, locked in 9-centred cycles.
You are no viewer. You co-author , endlessly, in each iteration.
From Technique to Ecology: Art’s True Revolution
Holograms, sensors, sound? Mere servants.
The core is relational fury:
9-centred numeric cycles,
decolonized authorship,
visitor as co-creator.
Art rejects asset status. It births an ecology of perception, participation, re-membering , where mathematics, beauty, and decolonization fuse in one experiential strike.
This installation welds mathematics, aesthetics, philosophy, decolonization into a relational, co-authorial force , not mere vision, but total revolution.
One further step
After we have seen these consequences , for quantum physics, philosophy, and contemporary art , it will become possible to ask whether the mathematics of digital roots is, in the end, a first language of the cosmos, which science and art are only now beginning to hear.
We have demonstrated that this new formulation has never been developed in the original way I described. This is a unique contribution that I make available to the scientific community.
But now is the time to reveal new truths and new values, taking contemporary art and the installation I designed as witnesses.
First, we must make a premise: rewriting the history of mathematics means not only overcoming the belief that digital roots are a subspecies of mathematics, but also acknowledging who invented the sequences, putting an end to a colonial vision of history. Pingala invented Pascal’s triangle and created the conditions for first Vrahanca and later Hemechandra to transform them into a mathematical sequence. 1, 1, 2, 3, 5, 8, 4, 3, 7, 1, 8, 9, 8, 8, 7, 6, 4, 1, 5, 6, 2, 8, 1, 9 is a mathematical sequence that Fibonacci tried to invent by inventing rabbits, but from zero rabbits no rabbits are born, and from a rabbit no rabbit is born. Yet even today, the Western mathematical elite does not call the sequence by the name of its true inventor. They justify themselves with the story that mathematics, like all disciplines, is a body in flux. Of course, but one must know whose feet the body rests on, and that foot is Vedic, Indian. It is urgent to abandon colonial logic, because today it is not just a cultural dispute but a danger for all humanity. The ongoing wars are fueled by that culture that has massacred peoples and stolen their wealth, both material and immaterial.
THE WORKS
Here are the series of works that have been created.
Pingala Sequence ,
12 unique works., I will not publish images of the works;
Work 1
Hemechandra Sequence 1 ,
12 unique works, with certificate of authenticity , I will not publish images of the works
Work 1
Hemechandra Sequence 2 ,
12 unique works, with certificates of authenticity , I will not publish images of the works;
Work 1
Hemechandra Sequence 3 ,
12 unique works, with certificates of authenticity , I will not publish images of the works.
Work 1
AVYAKTA/PRAKRITI ,
12 unique works, with certificates of authenticity , I will not publish images of the works.
Work 1
NOT ASS ART ,
12 unique works, with certificates of authenticity , I will not publish images of the works.
Work 1
THE SONG OF SONGS
12 unique works, with certificates of authenticity , I will not publish images of the works.
Work 1
FOR INSTITUTION and COLLECTORS
To see the works , please fill out the form or send a message via WhatsApp