Deutsch (DE-CH-AT)English (United Kingdom)
Image1\ Image2\ Image3\ Image4\
Start About me
about me PDF Print E-mail



ueber_michBorn at Mitterbach/Erlaufsee at the border between Lower Austria and Styria on 1 December 1942
1953–1961 secondary modern school in Vienna
1961–1965 studied chemistry
1970–1974 Vienna University of Technology
1966–1969 Angola
1974–1996 work
since 1996 early retirement due to eye problem
1998–2007 developing PAINTERLY Music – note by note!

  • The VARIATIONS of own paintings and late paintings by Matisse, Klee, Popova etc. were important because they confronted me with problems of how to transfer information (LEV LANDAU's Rule).
  • The problem of COMPARING disciplines took me via mathematics to dancing and music – and thus to the FOUR-PARAMETER Method.
  • The fact that one must not compare apples with oranges nor notes with colours was learned from Bayrischer Rundfunk and its multi-part series on INTERVALS (Weber-Fechner Law).
  • And, finally, I copied the time-in-plane congruence from Wassily KANDINSKY (from Point and Line to Plane, 1925).

This development took nine years because rather than inventing PAINTED Music I wanted to unfurl painting from its (four) basic parameters. I am not good in maths nor particularly musical and a ninny in rhythm, but when it comes to inventing new constellations and being INNOVATIVE, I am unbeatable.

The PAINTED Music NOTE BY NOTE images have finally been completed on the basis of the NEW colour star. Some of the paintings are truly wonderful. But not a single soul is contacting me, not a sod would like to have a painting made by me. Once again, people – those who should be responding – act like moon faces on the backside of Earth's companion. Goethe, Runge, Skrjabin, Kandinsky, Max Bill and many more would have been glad for a chance to use this method.

Owner and publisher:

Peter HULATSCH Eigenverlag e.U. FN 345179 t

1220 VIENNA, Schüttaustr. 1-39/34/15 AUSTRIA

FAX +43 1 96 99 355, Mobile +43 699 150 153 06, Tel. +43 1 26 3 26 02

All Rights Reserved !






The General  F O U R  Parameter  Method


1  =  R E L A T I V I T Y                                                                                          
2a = V A R I A B I L I T Y according to the LEV LANDAU Rule            
3 = C O N G R U E N C                                             4 = C O M P A R A B I L I T Y
2b = preserves  S Y M M E T R Y
             by returning to the both identities A and B.

  1. R E L A T I V I T Y  by e.g. WEBER-FECHNER Law
    2.    R E V E R S I B I L I T Y
    3.    C O N G R U E N C E  and
    4.    C O M P A R A B I L I T Y

These  F O U R  Parameters
are applicable to a lot of non-chaotic natural laws, disciplines and systems - because they are the four basic elements of logical thinking plus transfer of informations:
1.    relativity of the DIFFERENT (e.g. colours and sounds),
2.    comparison of the SAME (e.g. the four basic parameters of   
               painting and music),
3.    equivalence of the IDENTICAL (e.g. time = space), and
4.    maintenance of symmetry of the VARIABLE (e.g. intended
          variations make it possible to mark various categories
          (geometry, voices, instruments).
After all the General FOUR Parameter Method starts out from FOUR  different  and ingeniously chosen partial solutions  which  -  and this is the crux of the matter - lead to an OVERALL solution to the problem studied. Thus, it requires YELLOW, the fourth pigment formed by two of the three pigments of the retina, for the human eye to distinguish about a million different hues.
                                                        2012   HULA im BILD®

 Paul Curzon, Peter McOwan07
 The Power of
 Computational Thinking
World Scientific Publishing Europe,                                                                                                                                                                                 

london 2017

Break down a task into elementary single steps and arrange them in their proper order. Turn this into an instruction (“algorithm”) that can be executed without having recourse to the mind and that will always lead to the correct result. Make sure that the instruction covers every conceivable case. Taking the – possibly many – objects that you need to process consider which of their properties [basic parameters] are essential and which you can ignore. Abstract them so much that the problem is reduced to its naked structure and try to locate that somewhere else [cf. the “four parameters method]. Find the most economic description of the object. This and much more is covered by the competences that Paul Curzon and Peter McOwan summarise under the heading of “computational thinking”). Other terms for this would be “algorithmic” or “procedural” thinking.
Source:  Dr. Christoph Pöppe, editor at Spektrum der Wissenschaften

Note on the mysterious figure 4

  • The PAINTED Music – note by note ! is based on 4 assumptions.
  • The Law of Universal Gravitation requires 4 parameters.
  • Aesthetic perception is based on 4 select principles.
  • The DNA has (only) 4 letters to describe everything alive, yet no two peas are alike.
  • Even the highly complex neural network of our brain can be described in detail using just 4 parameters:
    • its architecture,
    • variations in the bonding between neurons,
    • the bonding polarity, which can be obstructing or stimulating, and
    • the ability to integrate, enabling a neuron to respond within milliseconds.

It is also notable that all these fours have one thing in common: each one combines

one pair of SYSTEM-PRESERVING parameters and

one pair of SYSTEM-DIVERSIFYING parameters.

This reminds us of actio-reactio, HEGEL or hormonal actionists-antagonists. Those four run up and down the complexity ladder like crazy – from maximum diversity to a few practicable solutions that we (occasionally) arrive at by thinking things through.

But one question remains unanswered:

Why the figure 4 ?

Are 4 participants required for the game of games – life (incidentally: chess too has only 4 categories of pieces) – to attain the basic combinatory pattern that opens up all the options – from the simplest to the most complex diversifications?! It is only when we come to God that all diversity is excluded – thanks to God being a Trinity.

And what do the mathematicians say about the mysterious 4 ?

Applying the Four - Parameter Method

to the human brain

Four groups of four basic parameters each appear to make up the human brain:

1. Four STATIC basic parameters

1.1 architecture of the brain,

1.2 linkage strength between neurons,

1.3 polarity of neurons: excitable or inhibitive, and

1.4 ability to integrate: a neuron knows within milliseconds how to react.

2. Four DYNAMIC basic parameters (codes)

2.1 activating potentials

2.2 neurotransmitters

2.3 chemical neuromodulators

2.4 short- and long-term modulators (neuropeptids and hormons)

3. Four FUNCTIONAL basic parameters

3.1 Parallel processing and circuits

3.2 Hierarchies and representations

3.3 Diversities and loops

3.4 Multidimensional task-sharing

4. Four domains of THINKING of thinking

4.1 Perceiving (input)

4.2 Feeling and assessing

4.3 Remembering and comparing

4.4 Planning and effectuating (output)

The four functional parameters are merely empty words because we have no idea of how the highly complex brain actually works.

If we were to apply the Four-Parameter Method to this concept we would get a four - by-the-power-of - four - dimensional something – there's no computer program that could even start to imitate this! Since the four groups of 4s are interlinked by at least one category, there may be "only" 40 to 50 basic dimensions. Glad tidings – yet !

Peter Hulatsch Kaisermühlen, October 2012




My Life Painted

1. Angola, Malta and later

1.1 Angola 1966–69

1.2 Angolan triptychs

1.3 Photo collages – Malta 1988

1.4 Some variations 1998-2006

2. The concept of PAINTED Music in 20 languages

Africaans, Arab, Chinese, Dutch, English, French, German, Greek, Hebrew, Hindi, Italian, Japanese, Korean, Polish, Portuguese, Russian, Serb, Spanish, Swedish, Turkish

3. Painted Music – Note by Note

3.0 Tables on intervals + tonic + SD chords

3.1 Individual paintings I+T+SD

3.2 Triple paintings I+T+SD

3.3 Intervals

3.4 Tonic chords

3.5 Sub- and dominant chords

3.6 Pentatonic

3.7 Church modes

3.8 Paper works in 3D

4. The Dancers

4.1 Selected dancers

4.2 Some dance series

4.3 Painted dancers

5. The Cadences

5.0 Time and image

5.1 Cadences

5.2 Music and notes of some cadences

5.3 Cadences analog




We use cookies to improve our website and your experience when using it. Cookies used for the essential operation of the site have already been set. To find out more about the cookies we use and how to delete them, see our Privacy Policy.

I accept cookies from this site