Every sound has its own form, and every form has its own sound. In Hindu culture, mantra (sound medium) and yantra (visual medium) are intimately linked. They are part of the same process of exploring the subtle and fundamental dimensions of existence. While Mantra and Yantra are age-old sciences, techniques with well-defined goals, Hindu art resonates with both practices and invites specific states of consciousness. The Sanskrit term Ritambhara Prajna (truth - fulfillment - perception) refers to a profound dimension of perception of the sound/form relationship.

All these elements are part of François Richomme's research and musical artistic practice, except that they do not necessarily refer to Hindu culture in such a specific way, but to his own experiences and discoveries in connection with his Yogic practices. The geometry of the Sri Yantra and the circles of Apollonius de Perge inspire the movement and spatialization of sound, with a sixteen-point multi-channel audio system providing an optimal transcription of the movements in question. The Tanpura, usually a four-string instrument and the basis of Indian music, creates a drone-like sound space in which the music can take shape and evolve. By modeling the sound of the Tanpura, it becomes possible to apply specific musical temperaments to it, such as the right intonation (ratio of simple frequencies), and to explore an infinite number of timbres and tunings by multiplying the number of strings and spatializing this modeled electronic instrument on the multi-channel amplification system.

The mathematics of the Sri Yantra (India) and the circles of Apollonius of Perge (Greece ) unite, providing their data to choreographic writing, sound spatialization and different types of musical temperament in a unified aesthetic quest linked to the Ritambhara Prajna.