By experimenting with different sounds at different volumes (most of them very, very loud), Joynes was able to create visual patterns by sprinkling sand on the wave driver’s vibrating plate. The resulting patterns, he found—dependent for their shapes on the sound frequency and the artist’s impulse—were not unlike the sand mandalas created by Tibetan monks through less technological means. He calls it frequency painting: the frequency of the sound is the brush that moves the medium—sand—on the plate, forming patterns that are, at some point, beyond the artist’s control. Newtonian physics, in a way, is the collaborator.