GNRTV

“There is always room for coincidence.�

- Carsten Nicolai

GNRTV is an extension of Audio’s Visual Identity.

A manifestation of visual collections generated from sound through explored methodologies that analyzes a sampled sounds’ levels, buffer size, spectrum analysis as well as frequency analysis.

GNRTV BOOK is published by: DHIYA MUHAMMAD dhiyamd@gmail.com www.dhiyamuhammad.tumblr.com All rights reserved, no part of this publication may be reproduced, stored in a retrieval system, or transmited in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the publisher.

PUBLISHER DHIYA MUHAMMAD ART DIRECTION & DESIGN DHIYA MUHAMMAD -

GNRTV IS ALSO AVAILABLE ONLINE www.gnrtv.tumblr.com AUDIO’S VISUAL IDENTITY CAN BE FOUND ON FACEBOOK www.facebook.com/AVI.PAGE

CREDITS GNRTV book is not possible without the help of the people mentioned. These people have given their knowledge, support, encouragement and love, the key ingredients for GNRTV book to happen.

I express my deepest gratitude and thanks.

Love, MDRN Muhammad Dhiya Bin Rahman 2011

RAHMAN BIN IBRAHIM NOORAISHAH BTE SULAIMAN AMNAH BTE AGOS SULAIMAN BIN HAJI NOOR NOORHAYATY BTE SULAIMAN STUART MONTGOMERY NURUL FARIHA BTE RAHMAN SABARIAH BTE SADIR MIKE CHEN DARRICK MA FELIX SNG BENSON CHONG SID LIM MARVIN LIANG

SPECIAL THANKS TO:

ANDREAS SCHLEGEL www.sojamo.de www.syntfarm.org

MICAH FRANK www.micahfrank.com www.soundcloud.com/micahfrank

JASON KAVANAGH www.soundsfromthefield.tumblr.com www.itsujitsu.wordpress.com

AND TO ALL THOSE WITHOUT WHOM THIS BOOK IS NOT MADE POSSIBLE.

NOT FORGETTING THESE SOURCES: www.processing.org www.youtube.com www.npr.org www.freesounds.org www.seaworld.org www.nasa.gov www.jpl.nasa.gov www.earthquake.usgs.gov www.soundcloud.com www.acoustics.salford.ac.uk www.hyperphysics.phy-astr.gsu.edu www.podcomplex.com www.victoriavesna.com www.ryojiikeda.com www.carstennicolai.de www.alvanoto.com

INTRODUCTION We can all agree that sound has an identity, we can identify sound’s identity as a mechanical vibration through air. Before we can investigate on sound’s visual identity we have to understand what makes a sound and the characteristics of it.

The introduction section seeks to explain the basic core concepts of sound’s characteristics.

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Sound waves are described as waves of compression and rarefaction in the air.Compression is a region where the air is compressed. In sound waves the compression is very small.

Rarefaction is the opposite of compression.

This means that when sound waves travel past a fixed point, the atmospheric pressure at that point goes slightly above and below the steady barometric pressure.But these fluctuations are far too small and far too rapid ever to be registered by a barometer.

A microphone, on the other hand, can be thought of as a kind of extra sensitive electrical barometer capable of detecting these

DHIYA MUHAMMAD

rapid fluctuations in the air pressure, unlike a normal barometer, which can only indicate relatively slow pressure changes.

There is a compression where the lines are closest together and a rarefaction where they are widely spaced. Waves of this sort are called longitudinal waves. In longitudinal waves, like sound, the air molecules oscilate from side to side.

INTRODUCTION

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The sine wave or sinusoid is a mathematical function that describes a smooth repetitive oscillation. It occurs often in sound, pure mathematics, as well as physics, signal processing, electrical engineering and many other fields.

The human ear can recognize single sine waves as sounding clear because sine waves are representations of a single frequency with no harmonics; some sounds that approximate a pure sine wave are whistling, a crystal glass set to vibrate by running a wet finger around its rim, and the sound made by a tuning fork.

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INTRODUCTION

Sound in its natural form is a signal, we use electricity to analyze a signal

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sound when digitizeD is nothing more than data, the computer is the best tooL to analyze data

INTRODUCTION

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A square wave is a kind of non-sinusoidal wavedorm, most typically encountered in electronics and signal processing. An ideal square wave alternates regularly and instantaneously between two levels.

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A triangle wave is a non-sinusoidal waveform named for its triangular shape.

Non-sinusoidal waveforms are waveforms that are not pure sine waves. They are usually derived from simple math functions.

While a pure sine consists of a single frequency, non-sinusoidal waveforms can be described as containing multiple sine waves of different frequencies.

Like a square wave, the triangle wave contains only odd harmonics. However, the higher harmonics roll off much faster than in a square wave.

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INTRODUCTION

SOUND NO. 04

The sawtooth wave (or saw wave) is a kind of non-sinusoidal waveform.It is named a sawtooth based on its resemblance to the teeth on the blade of a saw.

The convention is that a sawtooth wave ramps upward and then sharply drops. However, there are also sawtooth waves in which the wave ramps downward and then sharply rises.

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AUDIOS’ VISUAL IDENTITY From this page onwards in the book visual generated from sounds will be presented. Methodologies that includes programming, data bending etc are used to see the sound. The visuals are broken up into three sections: audioPatterns audioWaveforms audioLandscapes These dedicated sections were derived to help group the visuals narratively for a better comparison on how each sound is seen prior to one another.

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VISUAL PATTERNS GENERATED FROM SOUND

AudioPatterns is a series of visual collections generated from sound. These patterns reflects on the sound’s natural identity.

Mimicking and varying from cellular structures, micro-organic growths to symmetrical geometrical impressions.

of visuals analyzes the levels, buffer size, spectrum and frequencies in the respective sound sampled. These methodologies include customized programming applications, data bending methods and generative scripts.

The methodologies that were implemented in these series

Methodologies are documented and included in the digital removable storage.

AUDIO PATTERNS

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SOUND: BLACK 10MM CIRCLE TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up

in Audacity as a raw file. This is a visual manifestation of the sound.

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AUDIO PATTERNS

SOUND NO. 06

SOUND: BLACK 10MM CIRCLE [PITCH ALTERED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up

in Audacity as a raw file, pitch was altered. This is a visual manifestation of the sound.

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SOUND: BLACK 10MM CIRCLE [EQUALIZATION ALTERED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up

in Audacity as a raw file, the equalization settings were altered.

This is a visual manifestation of the sound.

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AUDIO PATTERNS

SOUND NO. 08

SOUND: BLACK 10MM CIRCLE [WAH WAH FILTER ADDED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up

in Audacity as a raw file, the wah wah filter was added. This is a visual manifestation of the sound.

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SOUND: BLACK 10MM CIRCLE [PHASER FILTER ADDED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up in

Audacity as a raw file, a phaser filter was added. This is a visual manifestation of the sound.

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AUDIO PATTERNS

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sound is a wave of oscillation, what is an oscillation?

Oscillation is the repetitive variation, typically in time, of some measure about a central

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SOUND NO. 10

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AUDIO PATTERNS

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SOUND: ZEROES & ONES ARTIST: RADIOHEAD TIME: 01:36:12 SOURCE: www.puddlegum.net/radiohead-01-and-10 DESCRIPTION: A plalist made out of Radiohead’s two albums said to

compliment each other. The dark middle bar is from track number 11 of the playlist out of 22 tracks in total, that track is KARMA POLICE.

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SOUND: “WE HAVE A LIFTOFF” [APOLLO 11] TIME: 01:00 SOURCE: www.nasa.gov/mission_pages/apollo/apollo11_audio DESCRIPTION: Liftoff countdown from the great Apollo 11 mission.

SOUND NO. 11

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AUDIO PATTERNS

SOUND NO. 12

SOUND: SUB BASS WITH NOISE TIME: 00:10 SOURCE: www.freesound.org DESCRIPTION: A sub bass with lots of static noise.

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SOUND: RADIO STATIC TIME: 00:08 SOURCE: www.freesound.org DESCRIPTION: Noise recorded from a blue Panasonic Panapet AM

Radio.

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AUDIO PATTERNS

SOUND NO. 14

SOUND: STATIC BREAKUP TIME: 00:10 SOURCE: www.freesound.org DESCRIPTION: Generated white noise done in Audacity. Few muted

sections simulate breakup.

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SOUND: MICROWAVE TIME: 00:15 SOURCE: Own Field Recording DESCRIPTION: Recording direct to drive and using a telephone

pickup used for recording phone calls. When placed near a source of electromagnetic radiation it produces sound. Held 6� from microwave.

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AUDIO PATTERNS

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The mechanical vibrations that can be interpreted as sound are able to travel through all forms of matter: gases, liquids, solids, and plasmas.

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SOUND: MONITOR TIME: 00:14 SOURCE: Own Field Recording DESCRIPTION: Recording direct to drive and using a telephone pickup

used for recording phone calls. When placed near a source of electromagnetic radiation it produces sound. Moving around laptop monitor screen.

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AUDIO PATTERNS

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SOUND: SATELLITE SIGNAL DOWN TIME: 03:15 SOURCE: www.freesounds.org DESCRIPTION: Satellite signal went down, producing garbled images

and this sound which is recorded on HiMD. The signal has been normalised in Audacity and converted to FLAC.

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AUDIO PATTERNS

SOUND NO. 18

SOUND: TV HUM TIME: 00:35 SOURCE: Own Field Recording DESCRIPTION: Various sources of electromagnetic

interference recorded with telephone pickup from home TV.

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SOUND: FLUORESCENT LIGH BULB BALLAST TIME: 00:22 SOURCE: Own Field Recordings DESCRIPTION: Telephone pick up on the ballast of a compact

fluorescent light bulb as it it turned off and on.

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AUDIO PATTERNS

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For humans, hearing is normally limited to frequencies between about 20 Hz and 20,000 Hz (20 kHz), although these limits are not definite.

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AUDIO PATTERNS

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SOUND: MAGNETIC BALLS TIME: 00:30 SOURCE: www.freesounds.org DESCRIPTION: Two magnetic metal balls attracting each other are

thrown into the air and bounce against each other very rapidly, producing an interesting sound.

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SOUND: SOUND OF YEAST CELLS AT 81DEGREE FARENHEIT TIME: 00:08 SOURCE: www.npr.org DESCRIPTION: Sounds of yeast cells oscillating in nanoscale at 81

degrees farenheit. Visual realized in PROCESSING.

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AUDIO PATTERNS

SOUND NO. 22

SOUND: DEAD CELLS TIME: 00:10 SOURCE: www.victoriavesna.com DESCRIPTION: A chemical such as sodium azide will kill the cell,

causing the emitted frequency to die away, leaving only noise.

Visual realized in PROCESSING.

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AUDIO PATTERNS

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SOUND: STRESSED CELLS TIME: 01:00 SOURCE: www.victoriavesna.com DESCRIPTION: Cells were stressed by agitating them with chemicals.

Visual realized in PROCESSING.

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SOUND: WATER BUBBLES TIME: 00:18 SOURCE: Own Field Recordings DESCRIPTION: Bubbles made with air-filled bottle under

water of a sink this one has smaller and continuous bubbles. Visual realized in PROCESSING.

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AUDIO PATTERNS

SOUND NO. 25

SOUND: ROCKS FALLING IN QUARRY TIME: 00:30 SOURCE: www.freesounds.org DESCRIPTION: Stones slide down in a rock quarry. Visual

realized in PROCESSING.

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FREQUENCY: is the number of occurrences of a repeating event per unit time

AUDIO PATTERNS

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SOUND NO. 26

SOUND: SAND DUNES TIME: 00:48 SOURCE: www.freesounds.org DESCRIPTION: This is a composit file, made from freesound samples

brought together in Alchemy with other sampling techniques and effects. A simple desert sound with wind and sand grains. Visual realized in PROCESSING.

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AUDIO PATTERNS

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SOUND: CRICKETS CLOSE UP ARTIST: JASON KAVANAGH DATE RECORDED: 07/04/2010 PLACE RECORDED: Drakensberg, South Africa TIME: 00:37 RECORDER : H2 (Zoom H2 field recorder)

DESCRIPTION: Sound submitted by Jason Kavanagh. Visual realized in

PROCESSING.

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SOUND: BUKIT TIMAH CICADA TIME: 00:21 SOURCE: Own Field Recordings DESCRIPTION: Middle from peak of Bukit Timah Nature Reserve.

Visual realized in PROCESSING.

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AUDIO PATTERNS

SOUND NO. 29

SOUND: INDOOR WIND TIME: 01:13 SOURCE: Own Field Recordings DESCRIPTION: Stereo recording of howling wind heard from indoors.

Visual realized in PROCESSING.

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SOUND: BELUGA WHALE TIME: 00:13 SOURCE: www.seaworld.org/animal-info/sound-library

SOUND: DOLPHIN CLICKS TIME: 00:09 SOURCE: www.seaworld.org/animal-info/sound

DESCRIPTION: Spectograph of high pitch sound made by

DESCRIPTION: Spectograph of clicking sounds m

the Beluga Whale. Spectograph realized in PROCESSING.

Spectograph realized in PROCESSING.

AUDIO PATTERNS

d-library

made by dolphins.

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SOUND NO. 32

SOUND: KILLER WHALE TIME: 00:11 SOURCE: www.seaworld.org/animal-info/sound-library DESCRIPTION: Spectograph of sound made by a Killer Whale.

Spectograph realized in PROCESSING.

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WAVELENGTH: in a sinusoidal wave, wavelength is the spatial period of the wave – the distance over which the wave’s shape repeats.

AUDIO PATTERNS

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SOUND NO. 34

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SOUND: EARTHQUAKE (MAMMOTH LAKE] TIME: 00:09 SOURCE: www.earthquake.usgs.gov

SOUND: SATURN (RADIO EMISSIONS] TIME: 01:13 SOURCE: www.nasa.gov

DESCRIPTION: After the 1992 Landers earthquake in southern

DESCRIPTION: Saturn is a source of intense radio emissions, which

California many areas around the western United States experienced increased numbers of small earthquakes. Here is a sound recorded at the Long Valley Caldera, a volcanic center near Mammoth Lakes, California, which was one of the areas that had a large number of triggered earthquakes. Spectograph realized in PROCESSING.

have been monitored by the Cassini spacecraft. Spectograph realized in PROCESSING.

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VISUAL WAVEFORMS GENERATED FROM SOUND

AudioWaveforms is a series of visual collections generated from sound. These visuals reflects on the sounds’ natural waveforms realized by determining certain parameters when analyzing the data of the sound digitally.

of visuals analyzes the levels, buffer size, spectrum and frequencies in the respective sound sampled. These methodologies include customized programming applications, data bending methods and generative scripts.

The methodologies that were implemented in these series

Methodologies are documented and included in the digital removable storage.

AUDIO WAVEFORMS

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SOUND: BLACK 10MM CIRCLE TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up in Audacity

as a raw file. This is a visual manifestation of the sound.

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AUDIO WAVEFORMS

SOUND NO. 36

SOUND: BLACK 10mm CIRCLE [PITCH ALTERED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up in Audacity

as a raw file, pitch was altered. This is a visual manifestation of the sound.

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SOUND: BLACK 10mm CIRCLE [EQUALIZATION ALETERED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up

in Audacity as a raw file, the equalization settings were altered.

This is a visual manifestation of the sound.

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AUDIO WAVEFORMS

SOUND NO. 38

SOUND: BLACK 10mm CIRCLE [WAH WAH FILTER ADDED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up in Audacity

as a raw file, the wah wah filter was added. This is a visual manifestation of the sound.

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AMPLITUDE: is the magnitude of change in the oscillating variable with each oscillation within an oscillating system.

AUDIO WAVEFORMS

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SOUND: BLACK 10mm CIRCLE [PHASE FILTER ADDED] TIME: 01:35 SOURCE: Own Field Recording DESCRIPTION: A 10mm graphic black circle was opened up in

Audacity as a raw file, a phaser filter was added. This is a visual manifestation of the sound.

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SOUND: R-RE-REPEAT (+ I-SOUND) TIME: 00:53 ARTIST: Alva Noto ALBUM: Transspray

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SOUND: FOREST TIME: 00:52 SOURCE: Own Field Recording

DESCRIPTION: Audio recording of a forest. Visua DESCRIPTION: Artist Carsten Nicolai, music alias Alva Noto’s song.

Visual realized in PROCESSING.

PROCESSING.

AUDIO WAVEFORMS

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SOUND NO. 42

SOUND: ELECTRONIC TERRORISM TIME: 03:28 ARTIST: Haus Arafna ALBUM: Children Of God

al realized in DESCRIPTION: Song by Haus Arafna. Visual realized in PROCESSING.

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SOUND: JUPITER BOWSHOCK TIME: 00:44 SOURCE: www.nasa.gov

SOUND: CALIFORNIA SEALION TIME: 00:10 SOURCE: www.seaworld.org

DESCRIPTION: Intriguing radio waves that NASA’s Cassini spacecraft

DESCRIPTION: Audio recording of a Californian Sealion recordeb by

collected near Jupiter in January 2001. Visual realized in Processing.

Seaworld. Visual realized in Processing.

AUDIO WAVEFORMS

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SOUND: KILLER WHALE TIME: 00:11 SOURCE: www.seaworld.org

SOUND: SATURN’S CURVE TIME: 00:11 SOURCE: www.nasa.gov

DESCRIPTION: Audio recording of a Killer Whale recordeb by

DESCRIPTION: Saturn is a source of intense radio emissions, which

Seaworld. Visual realized in Processing.

have been monitored by the Cassini spacecraft. The radio waves are closely related to the auroras near the poles of the planet.

These auroras are similar to Earth’s northern and southern lights.

This is an audio file of radio emissions from Saturn.Visual realized in Processing.

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SOUND: PUNGENT GIMP MASK TIME: 00:37 ARTIST: JASON KAVANAGH (ITSU JITSU) ALBUM: Pungent Gimp Mask - Deviant Hammock Disorder

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SOUND: FUEL FOR BLACK QUARZ TIME: 00:16 ARTIST: Alva Noto ALBUM: Transspray

DESCRIPTION: Artist Carsten Nicolai, music alias

R-re-repeat. Visual realized in PROCESSING. DESCRIPTION: Sound submitted by Jason Kavanagh. Visual realized in

PROCESSING.

AUDIO WAVEFORMS

s Alva Noto’s song

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SOUND: EARTHQUAKE (THE GEYSERS] TIME: 00:09 SOURCE: www.earthquake.usgs.gov DESCRIPTION: After the 1992 Landers earthquake in southern

California many areas around the western United States experienced increased numbers of small earthquakes. Here is a sound recorded at the Long Valley Caldera, a volcanic center near Mammoth Lakes, California, which was one of the areas that had a large number of triggered earthquakes. Visual realized in PROCESSING.

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INTENSITY: is a measure flux, averaged over the wave. The word “intensity synonymous with “strength tude”, or “level”, as it in colloquial speech.

AUDIO WAVEFORMS

measure of the energy the period of the intensity” here is not strength”, “amplIit sometimes is

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SOUND: CAS SKR1 TIME: 01:13 SOURCE: www.nasa.gov DESCRIPTION: Saturn is a source of intense radio emissions, which

have been monitored by the Cassini spacecraft. The radio waves are closely related to the auroras near the poles of the planet.

These auroras are similar to Earth’s northern and southern lights.

This is an audio file of radio emissions from Saturn.Visual realized in Processing.

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AUDIO WAVEFORMS

SOUND NO. 51

SOUND: F117.TIFF TIME: 01:52 ARTIST: Alva Noto ALBUM: Transspray DESCRIPTION: Artist Carsten Nicolai, music alias Alva Noto’s song

titled F117.tiff. Visual realized in PROCESSING.

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AUDIO WAVEFORMS

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SOUND: LOTUS FLOWER TIME: 05:02 ARTIST: RADIOHEAD ALBUM: The King of Limbs DESCRIPTION: From Radiohead’s newest album The King of Limbs.

Visual realized in PROCESSING.

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SOUND: DEAD CELLS TIME: 00:10 SOURCE: www.victoriavesna.com DESCRIPTION: A chemical such as sodium azide will kill the cell,

causing the emitted frequency to die away, leaving only noise.

Visual realized in PROCESSING. Visual is realized in PROCESSING.

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AUDIO WAVEFORMS

SOUND NO. 54

SOUND: MICROWAVE TIME: 00:15 SOURCE: Own Field Recording DESCRIPTION: Recording direct to drive and using a telephone

pickup used for recording phone calls. When placed near a source of electromagnetic radiation it produces sound. Held 6� from microwave. Visual is realized in PROCESSING.

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SOUND: BUKIT TIMAH CICADA TIME: 00:21 SOURCE: Own Field Recordings DESCRIPTION: Middle from peak of Bukit Timah Nature Reserve.

Visual realized in PROCESSING.

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DHIYA MUHAMMAD

AUDIO WAVEFORMS

SOUND NO. 56

SOUND: TIBETAN CHANT TIME: 00:09 SOURCE: www.freesounds.org DESCRIPTION: A small sample of tibetan style throat singing by

me (my voice) used in the ceremonies of the monastic and yogic traditions of Tibetan Buddhism. recorded on an SE electronics mic placed into logic, with heavy reverb, and touch of stereo delay, short fade in and out and bounced down. Visual is realized in PROCESSING.

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SOUND: TITAN ECHOES TIME: 01:03 SOURCE: www.jpl.nasa.gov DESCRIPTION: Radar echoes of a new world were captured by the

European Space Agency’s Huygens probe as it descended onto Titan, Saturn’s largest moon.

Huygens hitched a ride aboard the Cassini spacecraft until its release towards Titan, a world some call Earth’s wayward twin.

As the probe approached the ground in January 2005, both the pitch and intensity of the radar echoes increased. The echoes have been converted into this audio file. Visual is realized in PROCESSING.

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AUDIO WAVEFORMS

SOUND NO. 57

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SPEED OF SOUND: is the during a unit of time agating through an elastic air at 20 °C (68 °F), the 343.2 metres per second is 1,236 kilometres per about one kilometer in proximately one mile in

AUDIO WAVEFORMS

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the distance traveled by a sound wave propelastic medium. In dry the speed of sound is second (1,126 ft/s). This er hour (768 mph), or in three seconds or apin five seconds.

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AUDIO WAVEFORMS

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SOUND: EARTHQUAKE (PARKFIELD] TIME: 00:09 SOURCE: www.earthquake.usgs.gov DESCRIPTION: After the 1992 Landers earthquake in

southern California many areas around the western United States experienced increased numbers of small earthquakes. Here is a sound recorded at the Long Valley Caldera, a volcanic center near Mammoth Lakes, California, which was one of the areas that had a large number of triggered earthquakes. Spectograph realized in PROCESSING.

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SOUND: BACH’S CELLO SUITE NO. 1 (PRELUDE) TIME: 02:00 ARTIST: MSTISLAV ROSTROPOVICH SOURCE: www.youtube.com/watch?v=LU_QR_FTt3E DESCRIPTION: Mstislav Rostropovich plays the Prelude from Bach’s

Cello Suite No. 1 in G major, BWV 1007. Filmed at the Basilique Sainte Madeleine, Vézelay, Yonne, France in 1991. Visual realized in PROCESSING.

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AUDIO WAVEFORMS

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DIRECTION: is the information contained in the relative position of one point with respect to another point without the distance information.

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VISUAL AUDIOSCAPES GENERATED FROM SOUND

AudioLandscapes is a series of visual collections generated from sound. These visuals reflects on the sounds’ natural waveforms manifested and realized into landscape structures three dimensionally.

of visuals analyzes the levels, buffer size, spectrum and frequencies in the respective sound sampled. These methodologies include customized programming applications, data bending methods and generative scripts.

The methodologies that were implemented in these series

Methodologies are documented and included in the digital removable storage.

AUDIO LANDSCAPES

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DECIBEL (symbol: dB) is a logarithmic unit that indicates the ratio of a physical quantity (usually power or intensity) relative to a specified or implied reference level.

AUDIO LANDSCAPES

SOUND NO. 60

SOUND: WHITE NOISE TIME: 00:01 SOURCE: Own Field Recordings DESCRIPTION: A frequency analysis of white noise generated in

Audacity. The spectrum is the exploded to produce a 3 dimesional landscape visual.

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SOUND: SINE WAVE TIME: 00:30 SOURCE: Own Field Recordings DESCRIPTION: A frequency analysis of a sine wave

generated in Audacity. The spectrum is the exploded to produce a 3 dimesional landscape visual.

SOUND NO. 61

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AUDIO LANDSCAPES

SOUND NO. 62

SOUND: SQUARE WAVE TIME: 00:30 SOURCE: Own Field Recordings DESCRIPTION: A frequency analysis of a square wave

generated in Audacity. The spectrum is the exploded to produce a 3 dimesional landscape visual.

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SOUND: TRIANGULAR WAVE TIME: 00:30 SOURCE: Own Field Recordings DESCRIPTION: A frequency analysis of a triangular wave generated

in Audacity. The spectrum is the exploded to produce a 3 dimesional landscape visual.

SOUND NO. 63

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AUDIO LANDSCAPES

SOUND NO. 64

SOUND: SAWTOOTH WAVE TIME: 00:30 SOURCE: Own Field Recordings DESCRIPTION: A frequency analysis of a sawtooth wave generated in

Audacity. The spectrum is the exploded to produce a 3 dimesional landscape visual.

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SOUND: CRICKETS CLOSE UP ARTIST: JASON KAVANAGH DATE RECORDED: 07/04/2010 PLACE RECORDED: Drakensberg, South Africa TIME: 00:37 RECORDER : H2 (Zoom H2 field recorder)

DESCRIPTION: Sound submitted by Jason Kavanagh. Visual realized in

PROCESSING.

SOUND NO. 65

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SOUND NO. 66

SOUND: EARTHQUAKE (PARKFIELD/LOOP x10] TIME: 00:09 SOURCE: www.earthquake.usgs.gov DESCRIPTION: After the 1992 Landers earthquake in southern

California many areas around the western United States experienced increased numbers of small earthquakes. Here is a sound recorded at the Long Valley Caldera, a volcanic center near Mammoth Lakes, California, which was one of the areas that had a large number of triggered earthquakes. Spectograph realized in PROCESSING.

SINGAPORE

GNRTV

2011

SOUND NO. 67

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SINGAPORE

SOUND: RAT PORRIDGE TIME: 03:07 ARTIST: JASON KAVANAGH/ITSU JITSU ALBUM: A TRACK A WEEK FOR A YEAR - PART SEVEN DESCRIPTION: Sound submitted by Jason Kavanagh under the label

Itsu Jitsu. Visual realized in PROCESSING.

GNRTV

2011

SOUND NO. 68

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SINGAPORE

SOUND: JUPITER BOWSHOCK TIME: 00:44 SOURCE: www.jpl.nasa.gov DESCRIPTION: The signals in this sound file were acquired from

Voyager 1’s plasma wave instrument as the spacecraft approached the ‘sonic boom’ (or bow shock, as scientists refer to it) of Jupiter in 1979.

A sonic boom is created as the solar wind, a thin stream of electricity charged gas from the Sun, moves past the planets at supersonic speeds.

The chirps heard at the beginning of the interval are waves generated by electrons coming from the bow shock and moving ‘upstream’ into the approaching solar wind. These soon die out and, except for a slight hum from one of the science instruments onboard and the firing of one of Voyager’s thrusters (making a short thud), things become quiet. Then suddenly, the spacecraft enters the bow shock and is enveloped by the turbulence in this planetary ‘sonic boom’.

GNRTV

2011

SOUND: IMMER TANZBAR [SECTION ANALYZED] TIME: 01:08 ARTIST: FILLIP GROSSMAN SOURCE: www.soundcloud.com/imrtoll/immer_tanzbar DESCRIPTION: Song mix submitted by Jerome Grossman

under music alias Immer Toll under the label Taxi Tanzbar, Belgium. Visual realized in PROCESSING.

SOUND NO. 69

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SINGAPORE

HERTZ (symbol: Hz) is the SI unit of frequency defined as the number of cycles per second of a periodic phenomenon.[1] One of its most common uses is the description of sine wave, particularly those used in radio and audio applications.

GNRTV

2011

SOUND NO. 70

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SINGAPORE

SOUND: EARTHQUAKES OFF THE EAST COAST OF HONSHU, JAPAN TIME: 06:10 DATE: FRIDAY MARCH 11, 2011 ARTIST: MICAH FRANK SOUND SOURCE: soundcloud.com/micahfrank/earthquakes-off-the-

east-coast LINK: www.micahfrank.com/tagged/tectonic DESCRIPTION: Sonification of seismic activity off the coast of

Honshu, Japan - Friday March 11th.

This is only a selection of 20 or so individual readings. At the time of this recording, earthquakes are ongoing and there have been almost 40 in the past 8 hours.

Tectonic is a realtime seismic analysis and sound synthesis system. Sound is created in realtime by earthquakes as they occur across the globe. A tightly integrated system between Max/MSP, Google Earth and Symbolic Sound’s Kyma processes earthquake data that is translated into sound synthesis parameters. A USGS XML feed is parsed into numerous fields including magnitude, elevation, time of day and geographical coordinates. These data are mapped to synthetic spectrums and processed by granular, aggregate and subtractive synthesis.

GNRTV

2011

SOUND: FOREST TIME: 00:52 SOURCE: Own Field Recording DESCRIPTION: Audio recording of forest in Malaysia. Sound is

recorded with a M-Audio Microtrack II recorder. Visual realized in PROCESSING.

SOUND NO. 71

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SOUND NO. 72

SOUND: MAGNETO SCANNER TIME: 00:16 SOURCE: www.freesounds.org DESCRIPTION: Hone transducer suction cup thing stuck to the glass

of my scanner/printer as light bar passes and returns to home.

SINGAPORE

GNRTV

2011

SOUND NO. 73

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SINGAPORE

SOUND: 6000 VOLTS TIME: 00:21 SOUND SOURCE: Own Field Recording

Raw audio recording of 6000 volts of electricity charging up a metal plate. Sound was recorded with a M-Audio Microtrack II. Visual is realized in PROCESSING.

GNRTV

2011

DHIYA MUHAMMAD

For humans, hearing is normally limited to frequencies between about 20 Hz and 20,000 Hz (20 kHz), although these limits are not definite.

AUDIO LANDSCAPES

SOUND NO. 74

SOUND: CABLE LINE TIME: 06:43 SOURCE: www.freesounds.org DESCRIPTION: Piezoelectric contact transducer secured to a

stranded cable guy wire supporting a radio tower. The guy wire is probably 100-150 feet long, tower is about 250 feet high. You will hear sounds traveling through the long steel elements of the wire and also the tower as well. There a strobe light on the very top of this tower. When it flashes, it makes small, mechanical noise that travels through the entire tower and all the guy wires. You can hear this as a ‘pinging’ sound. Since Steel is a dispersive medium, the sounds start high in frequency and then fall to low frequency.

Piezo element directly connected to line input (Not mic input) of a Marantz PMD660.

SINGAPORE

GNRTV

2011

DHIYA MUHAMMAD

The mechanical vibrations interpreted as sound el through all forms liquids, solids, and

AUDIO LANDSCAPES

SINGAPORE

vibrations that can be sound are able to travforms of matter: gases, and plasmas.

GNRTV

2011

SOUND: DOLPHINS UNDERWATER TIME: 00:57 SOURCE: www.seaworld.org DESCRIPTION: Audio recording of Dolphins underwater by Seaworld.

Visual realized in PROCESSING.

SOUND NO. 75

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SOUND NO. 76

SOUND: WAVES CRASHING TIME: 02:00 SOURCE: www.freesounds.org DESCRIPTION: Close field recording of medium ambient waves

crushing on the shore of Kalundborg Fjord. Water cascading through small stones as it pulls back into the ocean. Very distant vessel. Recorded at 2 meters distance, 120 degree with Zoom H2 build in microphones mid February. Visual realized in PROCESSING.

SINGAPORE

GNRTV

2011

SOUND NO. 77

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SINGAPORE

SOUND: EARTHQUAKES OFF THE EAST COAST OF HONSHU, JAPAN TIME: 06:10 DATE: FRIDAY MARCH 11, 2011 ARTIST: MICAH FRANK SOUND SOURCE: soundcloud.com/micahfrank/earthquakes-off-the-

east-coast LINK: www.micahfrank.com/tagged/tectonic DESCRIPTION: Sonification of seismic activity off the coast of

Honshu, Japan - Friday March 11th.

This is only a selection of 20 or so individual readings. At the time of this recording, earthquakes are ongoing and there have been almost 40 in the past 8 hours.

Tectonic is a realtime seismic analysis and sound synthesis system. Sound is created in realtime by earthquakes as they occur across the globe. A tightly integrated system between Max/MSP, Google Earth and Symbolic Sound’s Kyma processes earthquake data that is translated into sound synthesis parameters. A USGS XML feed is parsed into numerous fields including magnitude, elevation, time of day and geographical coordinates. These data are mapped to synthetic spectrums and processed by granular, aggregate and subtractive synthesis.

GNRTV

2011

SOUND: MAGNITUDE 5.5 TIME: 01:32 ARTIST: MICAH FRANK SOUND SOURCE: soundcloud.com/micahfrank/magnitude-5-5-off-

the-east LINK: www.micahfrank.com/tagged/tectonic DESCRIPTION: Sonification of seismic activity off the coast of

Honshu, Japan - Friday March 11th.

Friday, March 11, 2011 16:11:26 UTC Saturday, March 12, 2011 02:11:26 AM at epicenter.

Depth: 9.20 km (5.72 mi) Visual realized in PROCESSING.

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SOUND NO. 78

SINGAPORE

GNRTV

2011

SOUND: LOGARITHMIC CHIRP (SINE WAVE) TIME: 00:30 SOURCE: Own Field Recording DESCRIPTION: Audio of Logarithmic chirp tone made in Audacity.

Visual realized in PROCESSING.

SOUND NO. 79

DHIYA MUHAMMAD

AUDIO LANDSCAPES

SOUND NO. 80

SOUND: BLACK NOISE TIME: 00:00 SOURCE: DESCRIPTION: Black noise is also called silent noise.

Noise with a 1/fb spectrum, where b > 2 (Manfred Schroeder, “Fractals, chaos, power laws”). Used in modeling various environmental processes. Is said to be a characteristic of “natural and unnatural catastrophes like floods, droughts, bear markets, and various outrageous outages, such as those of electrical power.” Further, “because of their black spectra, such disasters often come in clusters.”

SINGAPORE

INDEX Total of 80 sounds have been analyzed and visualized. Attached witht this book is a collection of the sounds in numerical order corresponding with the visuals.

The custom applications written as well as the process documentation for visualizing the sounds is packaged digitally along with this book.

NO;

NAME;

TIME;

SOURCE;

NO. 01 NO. 02 NO. 03 NO. 04 NO. 05 NO. 06 NO. 07 NO. 08 NO. 09 NO. 10 NO. 11 NO. 12 NO. 13 NO. 14 NO. 15 NO. 16 NO. 17 NO. 18 NO. 19 NO. 20 NO. 21 NO. 22 NO. 23 NO. 24 NO. 25 NO. 26 NO. 27 NO. 28 NO. 29 NO. 30 NO. 31 NO. 32 NO. 33 NO. 34 NO. 35 NO. 36 NO. 37 NO. 38 NO. 39 NO. 40

WAVEFORM [SINE].mp3 WAVEFORM [SQUARE].mp3 WAVEFORM [TRIANGULAR].mp3 WAVEFORM [SAWTOOTH].mp3 BLACK 10MM CIRCLE.mp3 BLACK 10MM [PITCH ALTERED].mp3 BLACK 10MM CIRCLE [EQUALIZATION ALTERED].mp3 BLACK 10MM CIRCLE [WAH WAH FILTER ADDED].mp3 BLACK 10MM CIRCLE [PHASER FILTER ADDED].mp3 ZEROES & ONES.mp3 “WE HAVE A LIFTOFF” [APOLLO 11].wav SUB BASS WITH NOISE.wav RADIO STATIC.wav STATIC BREAKUP.wav MICROWAVE.wav MONITOR.wav SATELLITE SIGNAL DOWN.wav TV HUM.wav FLUORESCENT LIGH BULB BALLAST.wav MAGNETIC BALLS.wav SOUND OF YEAST CELLS AT 81DEGREE FARENHEIT.rm DEAD CELLS.wav STRESSED CELLS.wav WATER BUBBLES.aif ROCKS FALLING IN QUARRY.wav SAND DUNES.wav CRICKETS CLOSE UP.wav BUKIT TIMAH CICADA.mp3 INDOOR WIND.wav BELUGA WHALE.aiff DOLPHIN CLICKS.wav KILLER WHALE.aiff EARTHQUAKE (MAMMOTH LAKE].wav SATURN (RADIO EMISSIONS].mp3 BLACK 10MM CIRCLE.mp3 BLACK 10MM [PITCH ALTERED].mp3 BLACK 10MM CIRCLE [EQUALIZATION ALTERED].mp3 BLACK 10MM CIRCLE [WAH WAH FILTER ADDED].mp3 BLACK 10MM CIRCLE [PHASER FILTER ADDED].mp3 R-RE-REPEAT (+ I-SOUND).mp3

00:34 00:34 00:34 00:34 01:35 01:35 01:35 01:35 01:35 01:36:12 01:00 00:10 00:08 00:10 00:15 00:14 03:15 00:35 00:22 00:30 00:08 00:10 01:00 00:18 00:30 00:48 00:37 00:21 01:13 00:13 00:09 00:11 00:09 01:13 01:35 01:35 01:35 01:35 01:35 00:53

Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording www.puddlegum.net/radiohead-01-and-10 www.nasa.gov/mission_pages/apollo/apollo11_audio www.freesounds.org www.freesounds.org www.freesounds.org Own Field Recording Own Field Recording www.freesounds.org Own Field Recording Own Field Recording www.freesounds.org www.npr.org www.victoriavesna.com www.victoriavesna.com Own Field Recording www.freesounds.org www.freesounds.org Jason Kavanagh Own Field Recording Own Field Recording www.seaworld.org/animal-info/sound-library www.seaworld.org/animal-info/sound-library www.seaworld.org/animal-info/sound-library www.earthquake.usgs.gov www.nasa.gov Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording Alva Noto

NO;

NAME;

TIME;

SOURCE;

NO. 41 NO. 42 NO. 43 NO. 44 NO. 45 NO. 46 NO. 47 NO. 48 NO. 49 NO. 50 NO. 51 NO. 52 NO. 53 NO. 54 NO. 55 NO. 56 NO. 57 NO. 58 NO. 59 NO. 60 NO. 61 NO. 62 NO. 63 NO. 64 NO. 65 NO. 66 NO. 67 NO. 68 NO. 69 NO. 70 NO. 71 NO. 72 NO. 73 NO. 74 NO. 75 NO. 76 NO. 77 NO. 78 NO. 79 NO. 80

FOREST.wav ELECTRONIC TERRORISM,mp3 JUPITER BOWSHOCK.mp3 CALIFORNIA SEALION.wav KILLER WHALE.aiff SATURN’S CURVE.mp3 PUNGENT GIMP MASK.mp3 FUEL FOR BLACK QUARZ.mp3 EARTHQUAKE (THE GEYSERS).wav CAS SKR1.wav F117.TIFF.mp3 LOTUS FLOWER.mp3 DEAD CELLS.wav MICROWAVE.wav BUKIT TIMAH CICADA.mp3 TIBETAN CHANT.wav TITAN ECHOES.mp3 EARTHQUAKE (PARKFIELD].wav BACH’S CELLO SUITE NO. 1 (PRELUDE).mp3 WHITE NOISE.mp3 WAVEFORM [SINE].mp3 WAVEFORM [SQUARE].mp3 WAVEFORM [TRIANGULAR].mp3 WAVEFORM [SAWTOOTH].mp3 CRICKETS CLOSE UP.wav EARTHQUAKE (PARKFIELD/LOOP x10].wav RAT PORRIDGE.mp3 JUPITER BOWSHOCK.mp3 IMMER TANZBAR [SECTION ANALYZED].mp3

00:52 03:28 00:44 00:10 00:11 00:11 00:37 00:16 00:09 01:13 01:52 05:02 00:10 00:15 00:21 00:09 01:03 00:09 02:00 00:01 00:34 00:34 00:34 00:34 00:37 00:09 03:37 00:44 01:08 06:10 00:52 00:16 00:21 06:43 00:57 02:00 06:10 01:32 00:30 00:00

Own Field Recording

EARTHQUAKES OFF THE EAST COAST OF HONSHU, JAPAN.mp3

FOREST.wav MAGNETO SCANNER.wav 6000 VOLTS.mp3 CABLE LINE.wav DOLPHINS UNDERWATER.wav WAVES CRASHING.wav EARTHQUAKES OFF THE EAST COAST OF HONSHU, JAPAN.mp3

MAGNITUDE 5.5.wav LOGARITHMIC CHIRP (SINE WAVE).mp3 BLACK NOISE

Haus Arafna www.nasa.gov www.seaworld.org www.seaworld.org www.nasa.gov Jason Kavanagh Alva Noto www.earthquake.usgs.gov www.nasa.gov Alva Noto Radiohead www.victoriavesna.com Own Field Recording Own Field Recording www.freesounds.org www.jpl.nasa.gov www.earthquake.usgs.gov www.youtube.com/watch?v=LU_QR_FTt3E Own Field Recording Own Field Recording Own Field Recording Own Field Recording Own Field Recording Jason Kavanagh www.earthquake.usgs.gov Jason Kavanagh www.jpl.nasa.gov www.soundcloud.com/imrtoll/immer_tanzbar www.micahfrank.com/tagged/tectonic Own Field Recording www.freesounds.org Own Field Recording www.freesounds.org www.seaworld.org www.freesounds.org www.micahfrank.com/tagged/tectonic www.micahfrank.com/tagged/tectonic Own Field Recording -

“The process happens in a trial-and-error and a back-and-forth way. It’s an adventure between the hands and the brain that is both systematic and intuitive, and cannot be generalized.�

- Ryoji Ikeda