DOCSLIB.ORG

Relax As Jeff Volk Tells You How the Sound Frequencies Used in Cymatics Can Tone up Your Body and Tune up Your Mind

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Relax As Jeff Volk Tells You How the Sound Frequencies Used in Cymatics Can Tone up Your Body and Tune up Your Mind [12-15] cymatics/jh 23/5/06 12:02 Page 12 Relax as Jeff Volk tells you how the sound frequencies used in Cymatics can Tone up your Body and Tune up your Mind. ou’re resting in a comfortable chair, soft As wonderful as this may seem, the Cymatique® beauty soothing music playing in the background as treatments are just one of many new therapeutic applications in a cosmetologist hovers dotingly overhead, the field of Cymatherapy which uses specific sound frequencies gracefully waving her magic wand about you. to stimulate muscles, organs, even bones, to their natural state You watch in amazement as years of life’s of resonance. Unlike ultrasound, which uses very high accumulated anguish vanishes from the frequencies to hyper-excite the cells in the body and can cause topography of your face like south-facing tissue damage if performed incorrectly, Cymatherapy employs snowflakes melting beneath springtime’s warming specific overlays of frequencies all within the audible range, and rays. After just one 45-minute session, you notice poses no such risk. In the example of our ‘sonic facelift’ waves that those stress marks around your eyes are not of sound emitted by a small, hand-held applicator ‘wand’ nearly as pronounced. The contracted skin around your lips gently penetrate the skin, stimulating blood and lymph has relaxed, and you look like you’ve just awakened from the circulation to help remove toxins, while toning and firming the most restful nap you’ve ever had. Perhaps it was a dream, facial muscles. The average 40 to 50 year-old should notice but it’s a dream you can step right into and walk out looking, significant and long-lasting results after 10 to 15 painless, and feeling like a new person! (See p15 to see the results). relaxing sessions – a far cry from the ‘nip and tuck’ option! 12 kindredspirit [12-15] cymatics/jh 23/5/06 12:02 Page 13 A Closer Look at All matter Sound- r“esponds to vibration All is Vibration! in a unique way, Cymatherapy is based on a All matter exists at specific densities, or having its vibrational device originally designed looked at another way, at different rates of own by Peter Guy Manners, a British vibration. Therefore, each individual resonant osteopath who performed extensive particle, or collection of particles, will have clinical research at his Bretforton Hall its own unique resonant frequency. This is frequency Clinic from the 1970s until its close why you can make a wine glass or a upon his retirement in 2005. crystal bowl sing so brilliantly when you Contemporary research and further excite them within the narrow range of ‘signature’ clinical trials have been carried out in their natural resonant frequency. For the States in a variety of settings, several years medical scientists have been with applications ranging from dental using this principle to break up kidney A Brief Overview treatments to bone and muscle stones, and more recently, to excite the of Cymatics injuries. Some of the most dramatic individual cancerous cells within a tumor Cymatherapy is a therapeutic application” results include the rapid recovery of to the extent that they rupture, thus derived from the pioneering work of Swiss professional athletes from a variety destroying the tumour (2). scientist, D. Hans Jenny, who in the 1960s of injuries. Over many years of research in the coined the term Cymatics from the Greek 1940s and 50s Dr. Manners and his word for ‘wave’. Dr Jenny spent over 14 Sound of Body colleagues ascertained a large body of years documenting his experiments in One well-known 34 year-old Football ‘commutations’ for specific bodily organs great detail, publishing books and films League player, suffering from a and tissues. Because every person’s showing many intricate and elaborate ligament tear and bone chip in his anatomy is different, the same organ or forms which sound produced in various ankle, used Cymatherapy as his tissue in your body will have a slightly powders, pastes and liquids (3). Although primary treatment. His rapid recovery different resonant frequency than mine, but Jenny was a medical doctor, his primary amazed his doctors, with within a very narrow range. Manners interest was studying the way inanimate inflammation and even fibrotic scar solved this problem by using a tone matter responded to sound from a physical tissue resolving within the first two consisting of an overlay of five frequencies, perspective, rather than directly exploring weeks of treatment. producing a harmonic of the tissue. Five the therapeutic effects of sound. However, Full range of motion, muscle strength seemed to be the ‘magic number’, creating his extensive body of work did, in many and balance effortlessly returned a frequency signature precise enough to ways, lay the foundation for much of within four weeks of treatment. If stimulate the targeted bone, organ or today’s burgeoning field of sound healing, you’ve ever even slightly sprained muscle tissue, while at the same time vividly showing how sound can restructure your ankle, you know how long it enabling one generic setting to work matter into a more coherent form. A short normally takes to be ‘up and running effectively, despite individual variations. historical review may help to explain. again’. Yet within one month he was Why five frequencies? Various theories able to run and even turn on a have been put forth including that it relates Sound advice sixpence – a very stressful move for to the Chinese Theory of the 5 Elements, From his studies of the natural sciences the ankle – without any further which are themselves based on the and Anthroposophy, the mystical science difficulties from his injury. His esoteric principles of the five platonic of Rudolf Steiner, Jenny was well aware verdict? ‘My ankle feels as good as solids. A more biological interpretation that all matter responds to vibration in a it did prior to my injury.’ He is but might be that these frequencies are unique way, having its own resonant one of a growing number of athletes somehow related to the five main stages of frequency ‘signature’. He wished to show who uses Cymatherapy not simply the cell renewal process. Suffice to say this empirically, using simple materials and remedially, but as a part of his that this particular patterning of five protocols whose results could be readily general health maintenance regimen audible sound frequencies has been repeated. Jenny’s scientific rigour opened and to prepare his ‘psychological shown to effectively correspond with the a new chapter in the detailed study of edge’ for his demanding given tissue throughout a broad population sound patterns popularized in the early professional life (1). over several decades of clinical research 19th Century by ‘the Father of Acoustics’, Perhaps the most rewarding case and therapeutic application. Ernst Chladni. Whereas Chladni had to was that of the thoroughbred steady a small steel plate covered with racehorse, ‘Rarely Found’, who sand in his fingers while stroking it with a sustained a torn flexor tendon violin bow, Jenny had the advantage of (similar to our Achilles tendon). electronic equipment, giving him much Usually when this occurs, regardless greater control over his experiments. This of the amount of rest, massage, allowed him to recreate these vibrational acupuncture, electric shock and patterns at will by reproducing the same other therapies, the horse is unable frequency (pitch) and amplitude (loudness) to race again, due to the build-up of of the exciting signal. He used sand, scar tissue. His full recovery with no pastes, water, and a fine spherical scar tissue in only six weeks (as powder called lycopodium, which is very opposed to two to three years of responsive to vibration, allowing him to conventional treatment) amazed see the complex resonances created owner and veterinarians alike, and when a thin steel plate is vibrated at might very well have saved him from various frequencies. being put down. kindredspirit 13 [12-15] cymatics/jh 23/5/06 12:02 Page 14 With subsequent advances in You’ll never look at electronics and engineering, sound the same again! contemporary researchers such as Perhaps the most frequent inquiry I’ve received over the past German photographer Alexander two decades has been, ‘How can I do this? How can I make Lauterwasser, and British acoustic these kinds of patterns; with my voice, with my harp, with engineer John Reid, are now able to our chant group? In Water Sound Images, Lauterwasser create precise ‘sound figures’ or shows a series of sound figures created in water using ‘CymaGlyphs’ in water, sand instruments as diverse as sitar and digeridoo, and with and lycopodium. music ranging from Bach and Beethoven to Skrijabin and Lauterwasser is the son of a Stockhausen. ‘But I want to see this for myself! How can I well-known portrait photographer, do it?’ so it’s no surprise that his focus, Well, thanks to the untiring efforts of ‘retired’ acoustic so to speak, has been to create engineer John Reid, I may finally be able to give a helpful and compile the most striking reply to that question. With the assistance of American collection of Cymatic photographs I inventor/designer Erik Larson, a greatly improved version of have seen in over 20 years the tonoscope, which Hans Jenny originally produced as a Vibration mimics documenting this field. His book, toy nearly 50 years ago, may soon be coming to a store tortoiseshell Water Sound, beautifully near you! The simple acoustic model, which portrays many of the Reid is calling the CymaScope Jr, is a infinite ways that small table-top instrument that up to sound can structure four people can sing into at once, matter.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • The Convergence of Sound and Space 2
    ACADEMY OF NEUROSCIENCE FOR ARCHITECTURE ANFA 2016 CONFERENCE R Resonant Form: The Convergence of Sound and Space 2. IMPLICATIONS FOR FUTURE WORK ESONANT While this body of research and design currently remains in the realm of proposition and experimentation, the exploration SHEA MICHAEL TRAHAN, ASSOCIATE AIA, LEED AP, M.ARCH acts to exhibit how lessons learned through cross-disciplinary research might be applied into the built environment. Potential F Trapolin Peer Architects OR [email protected] programmatic uses for such architectural spaces would include sensory laboratories, sonic therapy chambers, sonic exploratoria, M : use in theater design, church/sacred spaces, and even urban follies offering a sonic oasis from a disastrous urban soundscape. The T H E “Listen! Interiors are like large instruments, collecting sound, amplifying it, trasmitting it elsewhere.” - Peter Zumthor built results of such research may someday offer the opportunity for further acoustic testing. Such a focus on the power of sound C to effect brain states could offer exciting new insight into the role of architecture in creating healthy spaces; or taken to its furthest ONVERGENCE Human spatial perception is a sensual experience of the world we inhabit. While we experience architecture through all of our senses by varying extents, create tools for meditative experience and instruments for expanded sonic perception. degrees, the process of design has long preferenced the visual at the expense of other modes of perception. This body of research and proposed design methodology aims to focus on acoustic aesthetics to create spaces which manifest sonic phenomenon that not only elicit psychological 3. REFERENCES OF responses for inhabitants but also induce shifts in brain states toward meditative and/or mystical experience.
    [Show full text]
  • A Study to Explore the Effects of Sound Vibrations on Consciousness
    International Journal of Social Work and Human Services Practice Horizon Research Publishing Vol.6. No.3 July, 2018, pp. 75-88 A Study to Explore the Effects of Sound Vibrations on Consciousness Meera Raghu Independent Researcher, New Zealand Abstract Sound is a form of energy produced by cause happiness, joy, courage or calmness, dissonant vibrations caused by movement of particles. Sound can intervals can cause tension, anger, fear or sadness, thereby travel through solids (such as metal, wood, membranes), affecting the emotional aspect of consciousness. liquids (water) and gases (air). The sound vibrations that reach our ear are produced by the movement of particles in Keywords Consciousness, Sound, Vibration, Music, the air surrounding the source of sound. The movement or Emotion, Chladni, Pattern, Energy vibration of particles produces waves of sound. Sound waves are longitudinal and travel in the direction of propagation of vibrations. The pitch of sound is related directly to its frequency, which is given by the number of Introduction vibrations or cycles per second. The higher the pitch of sound, the higher is its frequency, and the lower the pitch, Sound is everywhere. There is perpetual movement and the lower is its frequency. Human ear can hear sounds of action in the world around us, and this produces a variety of frequencies ranging from 20 – 20,000 cycles per second (or sounds, such as those coming from Nature, from animals, Hertz – Hz). Sound waves can be visually seen and studied those generated by humans in the form of speech or music, using ‘Chladni’ plates, which was devised and those that are generated by vehicles, machines, gadgets that experimented by Ernst Chladni, a famous physicist with a are used for comfort, leisure and convenience.
    [Show full text]
  • Catalogodae 16.Pdf
    16 APRILE 2 GIUGNO ORGANIZZAZIONE Andrea Gulli Enrico Giletti Enrico Saba Francesco Scarel Frediano Bortolotti Margherita De Nardo Paolo Pascolo Rodolfo De Gasperi IN COLLABORAZIONE CON Alberto Novello Carlo Alberto Fontana Erin McKinney Federica Marchesich Manuel Gereon Michele Cuzziol Simona Cavatoni 6 FESTIVAL D’ARTE MULTIMEDIALE 01 DobiArtEventi (DAE) è una manifestazione artistica multimediale organizzata dall’As- sociazione Culturale Gruppo Area di Ricerca Dobialab giunta alla XV edizione. Dal 2002 DAE ha intrecciato diversi percorsi e linguaggi creativi quali arti visive e tea- tro, danza e musica, performances e video arte, ospitando artisti e progetti provenienti dalla Regione e mettendoli a confronto con personalità nazionali ed estere, diventando così strumento d’indagine dell’identità sia degli artisti che del pubblico nei vari eventi culturali proposti. Questo intreccio ha portato alla luce svariati progetti e produzioni artistiche con un notevole arricchimento del patrimonio culturale regionale. Per l’edizione 2016, DAE sente la necessità di espandersi nel territorio che circonda e culla la sede storica del Festival a Staranzano e si propone di farlo riscoprendo una di- mensione relazionale con lo spazio fisico e geografico dell’entroterra Isontino, del Carso e del Basso Friuli. Questa necessità risponde a nuove prospettive culturali nate dalla volontà di cooperare con realtà regionali che valorizzano una nuova idea del territorio legata a un ciclo di produzione e consumo consapevole e sostenibile. DOBIARTEVENTI 2 DobiArtEventi (DAE) is a multimedia art festival organized by Associazione Culturale Gruppo Area di Ricerca Dobialab. Since 2002 DAE cross-linked different paths and creative languages such as visual arts and theater, dance and music, performances and video art, hosting artists and projects coming from Friuli Venezia Giulia region and confronting them with national and in- ternational personalities.
    [Show full text]
  • Music Education: Why? What? How?= Musiekopvoeding: Waarom
    DOCUMENT RESUME ED 354 176 SO 022 602 AUTHOR Hauptfleisch, Sarita, Ed.; And Others TITLE Music Education: Why? What? How? = Musiekopvoeding: Waarom? Wat? Hoe? Papers Presented at the National Music Educators Conference (Pretoria, South Africa, April 9-12, 1990). INSTITUTION Human Sciences Research Council, Pretoria (South Africa) . REPORT NO ISBN-0-7969-0979-2 PUB DATE 91 NOTE 323p. AVAILABLE FROMHuman Sciences Research Council, 134 Pretorius Street, Pretoria 0001 South Africa. PUB TYPE Books (010) Collected Works Conference Proceedings (021) LANGUAGE English; Afrikaans EDRS PRICE MFO1 /PC13 Plus Postage. DESCRIPTORS Aesthetic Values; Cultural Awareness; Elementary Secondary Education; Foreign Countries; *Music Education IDENTIFIERS Namibia; *South Africa ABSTRACT This collection of papers was presented at a South African national music educators conference. The conference set forth educators' concern about the current crisis in music education in South Africa. The critical state is summarized under two headings: (1) the law and abating status accorded to music education within general education;(2) the lack of coherence in music education owing to ongoing fragmentation. It is suggested that insofar as music is a universal manifestation of human sentience and is an essential feature of the culture of all peoples of all times, every individual deserves to be educated musically, and therefore music education must be an integral part of the education of all South Africans. Seven mandatory conditions are listed to insure that end. Presentations were grouped under the general headings:(1) "Overseas Presenters"; (2) "Papers Delivered to Specific Music Societies";(3) "Panel Discussion: Perspectives on Multicultural Music Education"; (4) "Music Education in the Primary School";(5) "Research";(6) "Subject Music"; and (7) "General." A conference program also is included.
    [Show full text]
  • 1 Survey-Dada
    A&EMSURVEY.qxd 1/10/08 17:51 Page 4 Phaidon Press Limited Regent's Wharf All Saints Street London N1 9PA Phaidon Press Inc. ART AND ELECTRONIC 180 Varick Street New York, NY 10014 www.phaidon.com First published 2009 © 2009 Phaidon Press Limited All works © the artists or the estates of MEDIA the artists unless otherwise stated. ISBN: 0 7148 4782 8 A CIP catalogue record of this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of Phaidon Press. Designed by Hoop Design Printed in Hong Kong cover, Ben Rubin and Mark Hansen Listening Post 2001–03 inside flap, James Turrell Catso, Red, 1967, 1994 pages 2–3 Robert Rauschenberg with Billy Klüver Soundings 1968 page 4 Charlotte Moorman and Nam June Paik TV Bra 1975 back cover and spine, interior page, Tanaka Atsuko Electric Dress 1957 EDITED BY EDWARD A. SHANKEN A&EMSURVEY.qxd 1/10/08 17:51 Page 6 CHARGED ENVIRONMENTS page 96 PREFACE EDWARD A. DOCUMENTS page 190 WORKS page 54 LE CORBUSIER, Iannis XENAKIS, Edgard VARÈSE Philips Pavilion, 1958 page 97 Carolee SCHNEEMANN with E.A.T. Snows, 1967 page 98 John CAGE Imaginary Landscape No. 4 (1951), 1951 page 99 SHANKEN page 10 MOTION, DURATION, ILLUMINATION MOTION, DURATION, ILLUMINATION PULSA Boston Public Gardens Demonstration, 1968 page 100 Frank GILLETTE and Ira SCHNEIDER Wipe Cycle, 1968 page 100 page 55 Robert RAUSCHENBERG with Billy KLÜVER Soundings, 1968 page 100 László MOHOLY-NAGY Light-Space Modulator, 1923–30 page 55 page 193 Wolf VOSTELL and Peter SAAGE Electronic Dé-Coll/age Happening Room (Homage à Dürer), 1968 page 101 Naum GABO Kinetic Construction (Standing Wave), 1919–20 page 56 Ted VICTORIA Solar Audio Window Transmission, 1969–70 page 102 Thomas WILFRED Opus 161, 1965–6 page 57 Wen-Ying TSAI with Frank T.
    [Show full text]
  • Festival Programme
    EARTH BEAT FESTIVAL 2021 IT’S THE BEAT THAT CONNECTS US WHĀNAU We are grateful and honoured to be welcomed to Ātiu Creek by Ngāti Whātua (Te Uri-o-Hau) to host Earth Beat Festival 2021. In alignment with our kaupapa and our commitment to the safety of the Earth Beat whānau, as well as the beauty of the whenua, it is with utmost respect to Ngāti Whātua and their ancestors that we host Earth Beat at Ātiu Creek. Their blessing and involvement is fundamental for a peaceful and nourishing Earth Beat experience. Te Tiriti o Waitangi workshop with Matua Rihari (Ngāti Whātua) will take place on Thursday and Friday (see workshops schedule). The workshop will look face-on into “The Heart of the Taniwha” and also touch on some local stories. Earth Beat 2021 will feature delicious vege hāngi. The hāngi will be run as a workshop on Saturday by Matua Rihari and whānua (Ngāti Whatua). There is no fee but registration is required as apaces are limited. You can also buy your hāngi meal tickets from the info tent for $5. 2 KAUPAPA True wellbeing is our birth right. It happens Strengthening our relationship and when we harmonise our individual connection with Earth also supports our dance of life to the beat of the Earth. individual well being. The natural cycles of the Earth direct our biological processes and On March 20, 2017, New Zealand recognized evolutionary unfoldment through long- in law that the Whanganui river is a living wave signals broadcasted from her core. being. Parliament passed legislation declaring She is always in communication with us.
    [Show full text]