Cymatics (Applied Biophysics Aether Research Laboratory)
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Response Variation of Chladni Patterns on Vibrating Elastic Plate Under Electro-Mechanical Oscillation
Nigerian Journal of Technology (NIJOTECH) Vol. 38, No. 3, July 2019, pp. 540 – 548 Copyright© Faculty of Engineering, University of Nigeria, Nsukka, Print ISSN: 0331-8443, Electronic ISSN: 2467-8821 www.nijotech.com http://dx.doi.org/10.4314/njt.v38i3.1 RESPONSE VARIATION OF CHLADNI PATTERNS ON VIBRATING ELASTIC PLATE UNDER ELECTRO-MECHANICAL OSCILLATION A. E. Ikpe1,*, A. E. Ndon2 and E. M. Etuk3 1, DEPT OF MECHANICAL ENGINEERING, UNIVERSITY OF BENIN, P.M.B. 1154, BENIN, EDO STATE, NIGERIA 2, DEPT OF CIVIL ENGINEERING, AKWA IBOM STATE UNIVERSITY, MKPAT ENIN, AKWA IBOM STATE, NIGERIA 3, DEPT OF PRODUCTION ENGINEERING, UNIVERSITY OF BENIN, P.M.B. 1154, BENIN, EDO STATE, NIGERIA E-mail addresses: 1 [email protected], 2 [email protected], 3 [email protected] ABSTRACT Fine grain particles such as sugar, sand, salt etc. form Chladni patterns on the surface of a thin plate subjected to acoustic excitation. This principle has found its relevance in many scientific and engineering applications where the displacement or response of components under the influence of vibration is vital. This study presents an alternative method of determining the modal shapes on vibrating plate in addition to other existing methods like the experimental method by Ernst Chladni. Three (3) finite element solvers namely: CATIA 2017 version, ANSYS R15.0 2017 version and HYPERMESH 2016 version were employed in the modelling process of the 0.40 mm x 0.40 mm plate and simulation of corresponding mode shapes (Chladni patterns) as well as the modal frequencies using Finite Element Method (FEM). Result of modal frequency obtained from the experimental analysis agreed with the FEM simulated, with HYPERMESH generated results being the closest to the experimental values. -
Orbital Shaped Standing Waves Using Chladni Plates
doi.org/10.26434/chemrxiv.10255838.v1 Orbital Shaped Standing Waves Using Chladni Plates Eric Janusson, Johanne Penafiel, Andrew Macdonald, Shaun MacLean, Irina Paci, J Scott McIndoe Submitted date: 05/11/2019 • Posted date: 13/11/2019 Licence: CC BY-NC-ND 4.0 Citation information: Janusson, Eric; Penafiel, Johanne; Macdonald, Andrew; MacLean, Shaun; Paci, Irina; McIndoe, J Scott (2019): Orbital Shaped Standing Waves Using Chladni Plates. ChemRxiv. Preprint. https://doi.org/10.26434/chemrxiv.10255838.v1 Chemistry students are often introduced to the concept of atomic orbitals with a representation of a one-dimensional standing wave. The classic example is the harmonic frequencies which produce standing waves on a guitar string; a concept which is easily replicated in class with a length of rope. From here, students are typically exposed to a more realistic three-dimensional model, which can often be difficult to visualize. Extrapolation from a two-dimensional model, such as the vibrational modes of a drumhead, can be used to convey the standing wave concept to students more easily. We have opted to use Chladni plates which may be tuned to give a two-dimensional standing wave which serves as a cross-sectional representation of atomic orbitals. The demonstration, intended for first year chemistry students, facilitates the examination of nodal and anti-nodal regions of a Chladni figure which students can then connect to the concept of quantum mechanical parameters and their relationship to atomic orbital shape. File list (4) Chladni manuscript_20191030.docx (3.47 MiB) view on ChemRxiv download file SUPPORTING INFORMATION Materials and Setup Phot.. -
Real-Time 3D Graphic Augmentation of Therapeutic Music Sessions for People on the Autism Spectrum
Real-time 3D Graphic Augmentation of Therapeutic Music Sessions for People on the Autism Spectrum John Joseph McGowan Submitted in partial fulfilment of the requirements of Edinburgh Napier University for the degree of Doctor of Philosophy October 2018 Declaration I, John McGowan, declare that the work contained within this thesis has not been submitted for any other degree or professional qualification. Furthermore, the thesis is the result of the student’s own independent work. Published material associated with the thesis is detailed within the section on Associate Publications. Signed: Date: 12th October 2019 J J McGowan Abstract i Abstract This thesis looks at the requirements analysis, design, development and evaluation of an application, CymaSense, as a means of improving the communicative behaviours of autistic participants through therapeutic music sessions, via the addition of a visual modality. Autism spectrum condition (ASC) is a lifelong neurodevelopmental disorder that can affect people in a number of ways, commonly through difficulties in communication. Interactive audio-visual feedback can be an effective way to enhance music therapy for people on the autism spectrum. A multi-sensory approach encourages musical engagement within clients, increasing levels of communication and social interaction beyond the sessions. Cymatics describes a resultant visualised geometry of vibration through a variety of mediums, typically through salt on a brass plate or via water. The research reported in this thesis focuses on how an interactive audio-visual application, based on Cymatics, might improve communication for people on the autism spectrum. A requirements analysis was conducted through interviews with four therapeutic music practitioners, aimed at identifying working practices with autistic clients. -
Martinho, Claudia. 2019. Aural Architecture Practice: Creative Approaches for an Ecology of Affect
Martinho, Claudia. 2019. Aural Architecture Practice: Creative Approaches for an Ecology of Affect. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/26374/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] !1 Aural Architecture Practice Creative Approaches for an Ecology of Affect Cláudia Martinho Goldsmiths, University of London PhD Music (Sonic Arts) 2018 !2 The work presented in this thesis has been carried out by myself, except as otherwise specified. December 15, 2017 !3 Acknowledgments Thanks to: my family, Mazatzin and Sitlali, for their support and understanding; my PhD thesis’ supervisors, Professor John Levack Drever and Dr. Iris Garrelfs, for their valuable input; and everyone who has inspired me and that took part in the co-creation of this thesis practical case studies. This research has been supported by the Foundation for Science and Technology fellowship. Funding has also been granted from the Department of Music and from the Graduate School at Goldsmiths University of London, the arts organisations Guimarães Capital of Culture 2012, Invisible Places and Lisboa Soa, to support the creation of the artworks presented in this research as practical case studies. -
From Hydrophonics to Interactive Sound Fountains
From Hydrophonics to Interactive Sound Fountains Johannes Birringer From “Series One” – Open Studio Exhibition, Derby University April – May 2008. Although modest and seemingly unspectacular, Caroline Locke’s phrase “seeing sound” – a phrase she used to describe her interests in creating sculptural sound-performance works when I first met her in 2004 – has stuck with me. It is an odd paradox, but one that has gained resonance in recent years as we have moved along with the scientific and technological advances in a culture obsessed with data visualizations and location mapping. Today’s ultrasonic medical scanning of our arterial blood flow allows us to peer inside ourselves, so to speak. We depend on x-ray vision to diagnose a fracture of our bones, and neurologists look into our brains to pinpoint areas responsible for thoughts, feelings, and actions. Sound and vision are two closely related sensory registers, yet we do not commonly think of sight being audible, and sound being visible. We do not see with our ears, we use them to listen to the wind as we go forth in the world, as the anthropologist Tim Ingold once suggested, noting that wind and breath are intimately related in the continuous movement of inhalation and exhalation that is fundamental to life and being.1 1 Cf. Tim Ingold, “Against Soundscape,” in Angus Carlyle (ed.), Autumn. Leaves: Sound and the Environment in Artistic Practice (Paris: Double Entendre, 2007), pp. 10-13. 2 Even though my immediate contact with Caroline Locke’s artistic creativity and collaborative ventures was limited to a brief two-year period (2004-05), I propose to reflect here on her major performance installation Hydrophonics (2005) and her on-going preoccupation with water and sound, attempting to sketch a particular collaborative and interactive trajectory in the various manifestations of her artistic project. -
Selected Filmography of Digital Culture and New Media Art
Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001. -
Wave Goodbye to Sound Waves
www.cymascope.com Wave Goodbye to Sound Waves Wave Goodbye to Sound Waves John Stuart Reid Sound is a wave, right? If you share this commonly held belief it is probably because everything you have ever read or been told about sound, whether from high school, popular science books or university courses has said so. And yet, if our eyes could see sound, we would not see waves wiggling their way through the air. Instead, we would see something quite surprising, as you will soon learn. So how did the popular belief in ‘sound waves’ begin? The confusion may have begun with German musician and physicist Ernst Chladni (1756-1827), sometimes described as ‘the father of acoustics.’ Chladni was inspired by the earlier work of English scientist Robert Hooke (1635–1703), who made contributions to many fields including mathematics, optics, mechanics, architecture and astronomy. In 1680 Hooke devised an apparatus consisting of a glass plate covered with flour that he ‘played’ with a violin bow. He was fascinated by the resulting patterns. Around 1800 this phenomenon Ernst Chladni was further explored by Ernst Robert Hooke Chladni, who used a brass plate and sand. Brass is a highly resonant metal and the bell-like sounds he created resulted in the sand grains organizing themselves into complex geometric patterns. These archetypal patterns are now referred to as ‘Chladni Figures,’ although the originator of the invention was actually Hooke. Chladni demonstrated this seemingly magical phenomenon all over Europe and he even had an audience with Napoleon. The French leader was so impressed that he sponsored a competition with The French Academy of Sciences in order to acquire an explanation as to the mechanism behind the sand patterns. -
Firmament of Sound
Firmament of Sound Before there were eyes to see when a vast darkness still permeated the void, All rested beneath a firmament of Sound. I stare into the primal pool breath ripples the water and light appears –as if from within– a raiment of pastel profusion barely the faintest hint of definition. I open myself and eyes appear –as if from within– so that I might see myself apart from the landscape, a part of the landscape– my original face peering out of the darkness, peering into the void. Without fear; without pain; no sharp edges; no hard places; no borders. Nothing to recoil from no need for protection no need for rejection– no separation. I raise my voice and Behold! I Create my own personal playground, a universe of figure, form and motion arising from my impetuous imagination. © 2009, Jeff Volk Autumn 2010 FROM VIBRATION TO MANIFESTATION: Assuming our Rightful Place in Creation All is vibration! ––Novalis Editor’s Note: The following article builds on Cymatics: Insights into the Invisible World of Sound, published in the Summer 2009 issue of The Quester. A brief overview of the science of Cymatics will be given at the outset, but for a more thorough understanding, please refer to that article at http://www.cymaticsource.com/pdf/CaduceusArticle.pdf. Cymatics in a Sound-bite Cymatics, the study of wave phenomena and vibration, is a scientific methodology that demonstrates the vibratory nature of matter and the transformational nature of sound. It is sound science at its finest, and its implications are vast! The term (Kymatiks in German), was adapted from the Greek word for wave, ta Kyma, in the 1960s by Swiss medical doctor and natural scientist, Hans Jenny (1904-1972). -
CHLADNI PATTERNS by Tom and Joseph Irvine
CHLADNI PATTERNS By Tom and Joseph Irvine September 18, 2000 Email: [email protected] ______________________________________________________________________ HISTORICAL BACKGROUND Ernst Chladni (1756-1827) was a German physicist who performed experimental studies of vibrating plates. Specifically, he spread fine sand over metal or glass plates. He then excited the fundamental natural frequency of the plate by stroking a violin bow across one of its edges. As a result, a standing wave formed in the plate. A standing wave has "anti-nodes" where the maximum displacement occurs. A standing wave also has "nodes" where no displacement occurs. For a vibrating plate, the nodes occur along "nodal lines." In Chladni's experiment, the sand grains responded to the excitation by migrating to the nodal lines of the plates. The grains thus traced the nodal line pattern. Sophie Germain (1776-1831) derived mathematical equations to describe Chladni's experiments. She published these equations in Memoir on the Vibrations of Elastic Plates. Jules Lissajous (1822-1880) performed further vibration research using Chladni's test methods. THEORY Elastic plates have numerous natural frequencies. The lowest natural frequency is called the fundamental natural frequency. The fundamental frequency is usually the dominant frequency. Each natural frequency has a corresponding "mode." The mode is defined in terms of its nodal line pattern. Each mode has a unique pattern. Points on opposite sides of a nodal line vibrate "180 degrees out-of-phase." Stroking a plate with a violin bow may excite several natural frequencies, thus complicating the experiment. Again, the response will usually be dominated by the fundamental mode. 1 The higher modes can be individually excited, to some extent, by stroking the plate at different edge locations. -
Orbital Shaped Standing Waves Using Chladni Platess
88 Chem. Educator 2020, 25, 88–91 Orbital Shaped Standing Waves Using Chladni Platess Eric Janusson, Johanne Penafiel, Shaun MacLean, Andrew Macdonald, Irina Paci* and J. Scott McIndoe* Department of Chemistry, University of Victoria, P.O. Box 3065 Victoria, BC V8W3V6, Canada, [email protected], [email protected] Received December 3, 2019. Accepted February 5, 2020. Abstract: Chemistry students are often introduced to the concept of atomic orbitals with a representation of a one-dimensional standing wave. The classic example is the harmonic frequencies, which produce standing waves on a guitar string; a concept that is easily replicated in class with a length of rope. From here, students are typically exposed to a more realistic three-dimensional model, which can often be difficult to visualize. Extrapolation from a two-dimensional model, such as the vibrational modes of a drumhead, can be used to convey the standing wave concept to students more easily. We have opted to use Chladni plates, which may be tuned to give a two-dimensional standing wave that serves as a cross-sectional representation of atomic orbitals. The demonstration, intended for first year chemistry students, facilitates the examination of nodal and anti-nodal regions of a Chladni figure that students can connect to the concept of quantum mechanical parameters and their relationship to atomic orbital shape. Introduction orbitals. There exist excellent examples in the literature of two- and three-dimensional visualizations of atomic orbitals, Understanding that an electron in an orbital can be thought making use of custom or proprietary software in order to of as a three-dimensional standing wave is a tough concept to produce plots of atomic and molecular orbitals and wrap one’s head around. -
Cymatics: a Novel Approch to Convert Sound Into Image
WorldAcademics World Academics Journal of Engineering Sciences ____________________________________________________________ World Acad. J. Eng. Sci. 01 1004 (2014) ISSN: 2348-635X doi:10.15449/wjes.2014.1004 Cymatics: A Novel Approch to Convert Sound into Image Bhaurao S. Badak* and Ajay A.Gurjar* Department of Electronics and Telecommunication Sipna C.O.E.T amravati Amravati, India *Email: [email protected], [email protected] Abstract: In a day to day life we come across many sounds which are mechanical vibration that may be through air or water. To every sound some form of visual image is attached which is normally not visible. We are making an attempt to make sound visible. This paper gives a novel approach to convert one dimensional signal (sound) into two dimensional signals (Image) which can be used as a tool to freeze sound in the form of images. We are using low frequency signals as an example. But as the frequency increases the patterns become more complex. Keywords: particle contamination, CSM, analytical method. Chladni known as the father of Acoustics, who laid Introduction the foundation for the study of physics of sound. In 1831 the great experimental scientist In the beginning was the ‘word’ or in Sanskrit, .Michael Faraday, published a paper of describing ‘Nada Brahma’, the world is sound. The amazing his observation of geometric ‘nodal forms’. Appear power of sound to change and shape matter is in granular solid under the effect of vibration. fundamental to all life and many spiritual In 1885, an American, Margaret watts Hughes, a technologies. Cymatics is the study of wave singer and ‘devout Congregationalist’, begin phenomenon, which emerged as a distinct scientific experimenting with the ‘eidophone’,a small, discipline in the 1950s. -
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10