Thanks for your comments on my pieces, which led me to your gallery (via JakezDaniel's link to the interview you did with him).
There's quite a lot of resonance for me in your gallery as a whole, but I'm commenting on this one for the moment because I happened to be recommending binaural beat technology to a student of mine. (Years ago, when I was a grad student, I participated in one of the Monroe Institute's seminars, in which they were using early binaural technology to induce out of body experiences.)
This piece is especially cogent and thematic, I think, for how it illustrates the connection between sound and plasma. I think most musicians know of the effect of sound on plasma (via the Ruben's Tube [link]). What really surprised me was the corollary, the plasma speaker ([link]).
Not too long ago, I learned that the best measurements of the emission of qi from qigong practitioners was in the form of a sound that averaged 8 Hz (from the palm!). The qi moving through the chakras is really a plasma braid, so it makes perfect sense that it would come out as sound (and that sound -- "healing tones" for example -- would immediately affect qi). Anyway, this is a long-winded appreciation for how you capture that relationship so economically while evoking Tesla, the Eye of Shiva, the Vesica Pices, and the Sun all at the same time. I suppose even "Pearl" Jam would fit into this as the Logos Spermatikos.
I looked at some of your writing, which has a very unique quality. Hard to put a word to it, but it would be a kind of contemporary "real" realism -- lots of SF allusion, but only because the "real" world is really pretty much SF now. You're a very interdisciplinary writer, with a wide spectrum of allusion that makes for engaged reading. I think you need to write something longer and mix it with your photography work, since they are facets of the same rich mind.
Thank-you for this in-depth and informative comment; I had a look at some of the corresponding information and it is of great interest. I appreciate that you spent the time to look at some of my literary work, too; as it happens, I used to combine my writing and my photography but it became stagnant somewhere along the way - separating them was necessary, at the time. I think I may be edging back in that direction with my recent work, however; I'm starting to use visual overlays, so it's only a matter of time before I start experimenting with written word again.
Back in the 1990's, when there was an incipient movement called "Ribofunk" brewing, I wrote a novella in 4 parts. The plan was to make it a mixed-media book, but in those days publishers were loath to put high-quality images in "genre" books. You can see one of the sections, "Surgical Mercy," here:[link] (Other parts came out in web journals.) These days, e-publishing allows for far more flexibility, as you know.
Miran Kim, the illustrator, went on to do lots of X-Files covers and other genre work. (Mike Dringenberg, of Sandman fame, was going to do the art for the novella.)
Ribofunk never took off, but people like Gibson and Stephenson did set the stage for the kind of "real" speculative writing you're doing.