The Metaphase Sound Machine is a kind of homage to the ideas of the American physicist Nick Herbert who in the 1970s has created both Metaphase Typewriter and Quantum Metaphone (a speech synthesizer). These were some of the first attempts to put the phenomenon of quantum entanglement in practice and one of the first steps towards the creation of a quantum computer. The experimental devices, however, had not confirmed theoretical research, and Herbert’s obsession with metaphysics resulted in the publication of several of his works on the metaphysical in quantum physics, that have led to a serious loss of interest to the ideas of quantum communication. One day, in a course of his experiments, Herbert has hacked into an university computer trying to establish a contact with the spirit of illusionist Harry Houdini at the day of the centenary of his birth.
In his device Herbert in order to achieve a quantum entangled state used as a source radioactive thallium, which was controlled by the Geiger radiation counter. The time interval between pulses was chosen as conversion code. Several psychics had participated in the experiments. They tried to influence the endless stream of random anagrams arising from a typewriter or cause “the ghost voice” to be heard out of metaphone. Scientists also have conducted sessions to bring about the “spirit” of a colleague who had recently died, and who knew about this typewriter. In 1985 Herbert wrote a book about metaphysical in physics. In general, his invention and articles quite severely compromised the ideas of quantum communication in the eyes of potential researchers and by the end of the XX century no any substantial progress in this direction was observed.
The Metaphase Sound Machine is an object with 6 rotating disks. Each of the discs is equipped with acoustic sound source (a speaker) and a microphone. Each of the microphones is connected via computer and the rotary axis to the speakers on the disks. Also in the center of installation a Geiger-Mueller counter is set, that detects ionizing radiation in the surrounding area. The intervals between these particles influence rotation velocity of each of the disks. Essentially the object is an audio- and kinetic installation in which a sound is synthesized based on feedbacks, produced by microphones and speakers on rotating discs. Feedback whistles are used as triggers for more complex sound synthesis. Additional harmonic signal processing, as well as the volatility of the dynamic system, lead to the endless variations of sound. The form of the object refers to the generally accepted symbolic notation of quantum entanglement as a biphoton – crossing discs of the orbits.
more info – vtol.cc/filter/works/metaphase-sound-machine
Cymatics is the science of visualizing sound waves.
From the album ‘Solar Echoes’.
Download the video in 4k. All of the science experiments in the video are real. Watch behind the scenes and see how it was made.
Directed by ShahirDaud.com
Cinematographer: Timur Civan
The Rosetta mission has detected a mysterious signal coming from Comet 67P/Churyumov-Gerasimenko.
The mission has five instruments in the Rosetta Plasma Consortium (RPC) that measure the plasma environment surrounding the comet.
Plasma is a charged gas and the RPC is tasked with understanding variations in the comet’s activity, how 67P’s jets of vapour and dust interacts with the solar wind and the dynamic structure of the comet’s nucleus and coma.
But when recording signals in the 40-50 millihertz frequency range, the RPC scientists stumbled on a surprise — the comet was singing, they report.
Through some kind of interaction in the comet’s environment, 67P’s weak magnetic field seems to be oscillating at low frequencies. In an effort to better understand this unique ‘song’, mission scientists have increased the frequency 10,000 times to make it audible to the human ear.
First detected in August as Rosetta approached the comet from 100 kilometres, this magnetic oscillation has continued.
Rosetta scientists speculate that the oscillations may be driven by the ionisation of neutral particles from the comet’s jets.
As they are released into space, they collide with high-energy particles from interplanetary space and become ionised. Because it is electrically charged, the plasma then interacts with the cometary magnetic field, causing oscillations. But to draw any conclusions about this, further work is needed.
“This is exciting because it is completely new to us,” says Karl-Heinz Glaßmeier, head of Space Physics and Space Sensorics at the Technische Universität Braunschweig, Germany.
“We did not expect this and we are still working to understand the physics of what is happening.”
Rosetta is currently lining up to deploy its robotic Philae lander to the comet at 20.00 AEDT.
During landing manoeuvers, the RPC is expected to help tracking Philae’s descent to the comet’s surface. The time between separation and landing is expected to take around seven hours.
It takes 28 minutes and 20 seconds for signals to travel at the speed of light from Rosetta to mission control in Germany.
Yaybahar is an electric-free, totally acoustic instrument designed by Gorkem Sen. The vibrations from the strings are transmitted via the coiled springs to the frame drums. These vibrations are turned into sound by the membranes which echo back and forth on the coiled springs. This results in an unique listening experience with an hypnotic surround sound.
What you hear in this performance is captured in realtime without any additional effects and with no post audio processing.
For contact: email@example.com
Performence: Görkem Şen
Video: Levent Bozkurt
Video Editing: Olgu Demir
Sound Mix: Mert Aksuna
Place: Alişler Yurdu
It’s not the music that triggers dance, it‘s the dance that creates music!
The challenge was to get the museum‘s visitors dancing. But music alone wouldn’t make it for a spontaneous groove. Therefore, we turned the tables and invented the STEPSEQUENCER – a tool which is able to create sound and music out of human movements.
Sounds and beats are being created by the STEPSEQUENCER for as long as you interact with the exhibit’s stations: a round floor-projected “instrument” and three physical tools on the side – one for jumping, one for twisting and one for seesawing.
The pads of the round floor projection are being activated by touch. If you mark a field with your hands or feet, a sound is resonating each time the rotating pointer hits the field. Depending on the marked pad’s position, different sounds are arising, each of them variously combinable with others. Once the movements stop, the sounds will hush.
Concept / Design / Code:
Johannes Timpernagel, Ingolf Heinsch, Sebastian Huber, Robert Pohle – schnellebuntebilder.de
Moritz Haberkorn – morast.at/
Jan Bernstein – quadrature.co/
büroberlin – bueroberlin.net/
Prof. Dr. Axel Buether
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tanz! Wie wir uns und die Welt bewegen
Oktober 2013 – Juli 2014
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Rosenpictures – rosenpictures.com/
Excerpt of the a/v work Morpheme by Electric Indigo and Thomas Wagensommerer, original duration 28 minutes.
All sounds are derived from a 9 seconds long audio recording of one phrase:
“To let noise into the system is a kind of fine art in both cybernetic terms and in terms of making music, too.” [Sadie Plant]
The source text is deconstructed and reassembled on a sonic, musical, linguistic and graphical level.
Morpheme can be performed as a multichannel audiovisual concert.
Check out this video with interactive sound artist Adriano Clemente, who proceeds to turn Urbani’s body into an analog instrument, details below:
After spending the last month feather dusting episodes from season one of Sound Builders, we’re positively tickled to bring to you a fresh batch of sonic-bending episodes.
In this latest installment of Sound Builders we meet today’s sonic artists who are pushing the audio experience to a whole new level by harnessing sound and technology to create their own instruments. Hosting this time around is singer, artist and frequent Blood Orange collaborator Samantha Urbani.
In episode one, we go to Bushwick to meet with Brooklyn-based, interactive sound artist Adriano Clemente. He’s a DJ, hacker, gamer and music producer but to sum things up, we’ve dubbed him a techno-collagist. It’s the most accurate description for Adriano, since he uses a multitude of existing technology and custom parts whose official purposes are hardly designed for making music.
We see this firsthand when our host Samantha had her arm turned into an analog instrument. With a medical sensor strapped to her forearm, Adriano was able to turn her muscle contractions into data to perform and compose music through the rarely explored art of biofeedback.
Adriano goes on to explore the relationship between body, sensors and sound by showing us how a piezo contact microphone can be used to transform any piece of backyard junk into a percussive and melodic instrument. Some people call it physical modeling synthesis but we just call it pretty much amazing.
Adriano’s objective is clear: to create a new kinesthetic approach to sound design that totally flips our notion that music is made from a traditional instrument or from interfacing with your mouse, keyboard and screen. This kind of research in tactile, computer music embodiment is not only important for reimagining our conventional vision of an instrument, but also for cutting in half the frustration from wanting to perform in front of millions but having no idea how to play a single note.
To learn more about harnessing the power of music, also check out “The Distortion of Sound,” a new documentary about the decline of high-fidelity sound: http://distortionofsound.com/
Check out more episodes of Sounder Builders: http://bit.ly/1qCzF9t
Documentary on Tristan Perich, a visual artist and composer.
Film by: Russell Oliver
Camera: Canon C100
According to Perich, his work is inspired by the aesthetics of math, physics and code.
Perch’s 1-Bit Music (2004) was the first album ever released as a microchip. 1-Bit Symphony is an electronic composition in five movements on a single microchip, enclosed in a CD case.
Among his eclectic array of projects, Ryuichi Sakamoto has recently made it his main concern to explore audiation, or the process of making audible, of data extracted from the environment. Daito Manabe (b.1976) is a media artist internationally acclaimed for his work, ranging from his experimental work using advanced technology to visualize data received from CERN (The European Organization for Nuclear Research), to producing visuals for the Japanese electro-pop group, Perfume.
Their first collaborative piece senses, visualizes, and makes audible electromagnetic waves, which are usually undetectable to the human senses. The piece focuses on the background role that electromagnetic waves play in technology that has become integral to modern society, manifested in mobile technology, inseparable from everyday life.
At the Moerenuma Park, visitors will find a large “High Resolution Large Display” (7.2 meters by 3.9 meters) and speakers in a brightly lit space, visualizing and making audible electromagnetic waves between 80MHz-5.2GHz that are captured in realtime by antennas set up in various places in the venue, which collect signals from cellphones, Wi-Fi, digital terrestrial broadcasting, and FM radio.
Additionally, the piece contrasts electromagnetic waves recorded at the Sapporo Ekimae-dori Underground Walkway (aka Chi-Ka-Ho) to show the notable difference time and place makes on the electromagnetic waves. As the audience changes the frequency with a turn of the dial-like interface in front of the screen, various electromagnetic waves will become visible on the screen simultaneously. Furthermore, the usage of cellphones or smartphones in the venue will alter the sound and image, reflecting the changing electromagnetism in the surrounding space.
The flow of electromagnetism is often forgotten, yet composes an indispensable infrastructure in our modern life, and the piece attempts to expose that. The installation also makes visible a kind of ecosystem, created by the active participation of audiences, that is simultaneously bound to a frequency range—a distributed territory—assigned to certain broadcasters or carriers.
At Chi-Ka-Ho, visitors will also be able to see an archived version of the video of the piece, along with one of the antennas used to capture electromagnetic data before the premiere of the installation.
“Glitch Robot” is a robotic music instrument dedicated to glitch sounds. Sounds from the in-between of error and prediction, little sounds that are amplified, small sounds made big. The installation uses old hard disks, metallic tongues, relays and other mechanic devices to create sound textures that are used in electronic music – with robots!
Dates of release: Sept. 2014.
Crew: Moritz Simon Geist (Concept + Realization), Sebastian Piatza, Claudia Lill.