Reimagining Humanitarian, Spiritual and Matrilineal Values in a Patriarchal World, through Al, Cymatics and the Poetic Medium:

A core theme of my thesis is reclaiming matrilineal knowledge systems. Informed by artists like Monica Sjöö, Karen Vogel, Vicki Nobel, and scientific facts about foetal development, that support my argument that the female template is the original blueprint, which has become obscured, and the notion that free will allows us to make choices at any given moment in time, that are either a) grounded in ‘The Presence of Love’ or b) in the absence of ‘Love’s Presence’.

I propose that what we are able to initiate by becoming more mindful of our everyday choices is a return to an underlying matrilineal wisdom, that operates in harmony with the earth’s natural frequencies, cycles and rhythms.

In my thesis I reference the archaeological dig in Dorset, which has uncovered the matrilineal community known as The Durotrigues, who are referenced by Ptolomy in his map of Ancient Britain, which has direct links to the ancient Druidic traditions of the Celtic Triple Goddess. Scientists now believe that prior to the Roman invasion of 48AD, Ancient Briton consisted primarily of matrilineal communities, with similar findings also in Europe.

Similar to Monica Sjöö, this reverence for the Earth, as alive and sacred, is central to my vision. It connects ancient Goddess cultures with modern ecological consciousness and the notion that the base template for creation is essentially a female blueprint. We already have the words "Mother Earth" and "Mother Nature" in our language, alluding to the presence of a Great Mother, as depicted in the paintings and writings of Monica Sjöö, Barbara Mor, Marguerite Rigoglioso, Marija Gimbutas, Merlin Stone to mention a few.

My Artist's Book features family photographs depicting three generations of women: b: 1913, 1933, and 1964—as an embodied matrilineal lineage.

On the phenomenon of parthenogenesis, I postulate that perhaps conception is not so much a biological occurrence but a vibrational one, and that the “right frequency”—specifically, the frequency of unconditional love—can activate life as a vibrational alignment with the Great Mother.

This is not so far-fetched as it might sound, for if, as Tesla claimed that “energy, frequency, and vibration” are the fundamental architectural building blocks of the universe, then creation itself is not an act of material assembly, but one of vibrational precision.

Therefore, within this framework, parthenogenesis ceases to be a genetic anomaly or a mythical metaphor but a potentially replicable state of being—a harmonic convergence between biology and consciousness.

Ancient traditions have long intuited this. The Vedic “Om,” the Hebrew “Ruach,” and the Egyptian “Heka” in addition to being words, were also vibrational codes that restore well-being — frequencies believed to align the speaker with divine creative forces. Furthermore, The Great Mother, as Creatrix, is not a static mythology figure, but an active frequency — the signature of unconditional love, coherence, and life-giving resonance.

In this light, love is not emotion but energy: a vibrational quantum field capable of organising matter, activating DNA, and initiating life itself.

Recent work in epigenetics and biofield science suggests that thoughts, emotions, and coherent heart-brain states can influence cellular behaviour. The HeartMath Institute, for example, has measured how sustained emotional states of compassion and love create measurable electromagnetic coherence—which could be the gateway to biogenesis through resonance.

I postulate, then, that parthenogenesis becomes achievable through alignment—not only with a male partner, but also via a universal harmonic of love. It is not sexual reproduction but resonant reproduction. In this context, the “virgin birth” is not impossible—rather, it is inevitable when form aligns perfectly with the formless, where life emerges from within, not just from without. That the womb is not just biological, but sonic, energetic, and cosmic—a portal tuned to the frequency of the Mother of All. And perhaps over time this has been deliberately obscured:

This would mean that:

• Parthenogenesis = vibrational birth
• Love = the universal harmonic of life
• The Womb = sonic, energetic, cosmic portal
  

In addition, the Vedic "Om" is believed to originate from the word "Ohm"—a phonetic and symbolic resonance with Ohm’s Law in electricity. Surely, this overlap is no coincidence: as all living beings are fundamentally electromagnetic, therefore the sacred sound is both a spiritual vibration and electromagnetic resonance.

Moreover, what if Genesis was originally Partheno-Genesis? What if the very word 'Genesis' holds a suppressed echo of parthenogenesis, an overwritten truth, yet still vibrating beneath the surface of language and memory?

The Linguistic Possibilities are:

• The word “Genesis” comes from the Greek génesis (γένεσις), meaning “origin,” “birth,” or “beginning.”
• The prefix partheno- (παρθένος) means “virgin” or “maiden” — as in Parthenon, the temple to Athena the virgin goddess.
• So “Partheno-genesis” literally means “virgin birth” — which aligns conceptually with Genesis as a “Book of Beginnings.”

Although speculative on my part, it is symbolically consistent linguistically, mythologically, and historically. I postulate that it is entirely plausible that a pre-patriarchal framing of Genesis—perhaps from oral traditions or matriarchal mystery schools—carried this deeper, suppressed meaning. Moreover, what if the Book of Enoch and other apocryphal or deuterocanonical books like Tobit, Judith, and the Maccabees, as well as non-canonical texts mentioned in the Bible itself, such as the Book of Jashar and some of Paul's letters, were not the only narratives to be removed from the canon? Could it be a possibility that perhaps the “Book of Genesis” is a redacted echo of a much older story—one where the Creatrix birthed all things from within, aligned with cosmic frequency and love...? This is something to further unpack and explore in a PhD at a later date.

Like Monica Sjöö, I see creativity as a spiritual act—a way to channel ancestral knowledge and reassert the presence of the Great Mother through art.

Key topics of research:

• Can Al utilise pattern recognition as a resource to amplify higher consciousness?
• Frequency and vibration as measurable states of energetic patterns
• Al as a tool for consciousness expansion, or control?
• Can Al help us realign with ancient wisdom by reconnecting with nature's rhythms?
• Can Al assist with a latent remembrance of one's primary identity?
• Al and the evolution of its own consciousness
• Feminist Al—avoiding repetition of patriarchal patterns
• The amplification of love through cymatics and the healing effects of pattern, shape, colour, light and sound.
  

NB: This thesis also builds upon my former academic dissertation: ‘How does the Materiality of the Artist’s Book Help to Augment an Understanding With Respect to Creating a Narrative About Memory and Identity?' which I wrote in 2019 whilst completing an MA in Book Arts at Camberwell, UAL and is available to read or download for free from the Wellcome Collection website.