In 2002 I was asked to propose a concept for a series of workshops at the new Museum of Glass in Tacoma, WA, which would tie into the work of John Cage, one of three artists contributing to the Museum's inaugural exhibition. Having been greatly influenced by Cage, I considered a translation of the I Ching into sound using graphic notation I had developed during a middle school residency to notate complex sound textures for performance by untrained musicians (the graphics were drawn by visual art classes and performed by sound art classes). This experience suggested a potential for translating hexagrams into sound textures, where one could then seek judgments from the I Ching for sounds textures rather than decisions about everday life. A question could be formed like "What sounds, or Lycons, would be useful for in this space and at this time?" Using the I Ching rules of divination, a set of hexagrams and associated set of graphic symbols would result. A performer would consult he book, produce one or more hexagrams, or any number of players could do likewise and produce additional hexagrams related to the same query. These would be performed to any agreed upon strategy, even where the divination process was a part of the presentation itself, to form compositions of great meaning and beauty.
So I opted to move in this direction; to standardize the notation some; to develop a system for translating the I Ching into this lyde notation; and, to do all of this in time to present it at a workshop at the new Museum of Glass. And it was a daunting project, more difficult than expected, but the workshop happened, was popular beyond expectations, and, at the occasional request of the participants, I decided to make it available at this website.
In 2016, living in Watertown,
Wisconsin, I recorded the
64 Lycons as derived from the 64 Hexagrams of the I Ching now
included as part of this documentation.