A Study to Explore the Effects of Sound Vibrations on Consciousness
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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. -
Shepard, 1982
Psychological Review VOLUME 89 NUMBER 4 JULY 1 9 8 2 Geometrical Approximations to the Structure of Musical Pitch Roger N. Shepard Stanford University ' Rectilinear scales of pitch can account for the similarity of tones close together in frequency but not for the heightened relations at special intervals, such as the octave or perfect fifth, that arise when the tones are interpreted musically. In- creasingly adequate a c c o u n t s of musical pitch are provided by increasingly gen- eralized, geometrically regular helical structures: a simple helix, a double helix, and a double helix wound around a torus in four dimensions or around a higher order helical cylinder in five dimensions. A two-dimensional "melodic map" o f these double-helical structures provides for optimally compact representations of musical scales and melodies. A two-dimensional "harmonic map," obtained by an affine transformation of the melodic map, provides for optimally compact representations of chords and harmonic relations; moreover, it is isomorphic to the toroidal structure that Krumhansl and Kessler (1982) show to represent the • psychological relations among musical keys. A piece of music, just as any other acous- the musical experience. Because the ear is tic stimulus, can be physically described in responsive to frequencies up to 20 kHz or terms of two time-varying pressure waves, more, at a sampling rate of two pressure one incident at each ear. This level of anal- values per cycle per ear, the physical spec- ysis has, however, little correspondence to ification of a half-hour symphony requires well in excess of a hundred million numbers. -
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. -
Experiment 12
Experiment 12 Velocity and Propagation of Waves 12.1 Objective To use the phenomenon of resonance to determine the velocity of the propagation of waves in taut strings and wires. 12.2 Discussion Any medium under tension or stress has the following property: disturbances, motions of the matter of which the medium consists, are propagated through the medium. When the disturbances are periodic, they are called waves, and when the disturbances are simple harmonic, the waves are sinusoidal and are characterized by a common wavelength and frequency. The velocity of propagation of a disturbance, whether or not it is periodic, depends generally upon the tension or stress in the medium and on the density of the medium. The greater the stress: the greater the velocity; and the greater the density: the smaller the velocity. In the case of a taut string or wire, the velocity v depends upon the tension T in the string or wire and the mass per unit length µ of the string or wire. Theory predicts that the relation should be T v2 = (12.1) µ Most disturbances travel so rapidly that a direct determination of their velocity is not possible. However, when the disturbance is simple harmonic, the sinusoidal character of the waves provides a simple method by which the velocity of the waves can be indirectly determined. This determination involves the frequency f and wavelength λ of the wave. Here f is the frequency of the simple harmonic motion of the medium and λ is from any point of the wave to the next point of the same phase. -
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. -
Chapter 5 Waves I: Generalities, Superposition & Standing Waves
Chapter 5 Waves I: Generalities, Superposition & Standing Waves 5.1 The Important Stuff 5.1.1 Wave Motion Wave motion occurs when the mass elements of a medium such as a taut string or the surface of a liquid make relatively small oscillatory motions but collectively give a pattern which travels for long distances. This kind of motion also includes the phenomenon of sound, where the molecules in the air around us make small oscillations but collectively give a disturbance which can travel the length of a college classroom, all the way to the students dozing in the back. We can even view the up–and–down motion of inebriated spectators of sports events as wave motion, since their small individual motions give rise to a disturbance which travels around a stadium. The mathematics of wave motion also has application to electromagnetic waves (including visible light), though the physical origin of those traveling disturbances is quite different from the mechanical waves we study in this chapter; so we will hold off on studying electromagnetic waves until we study electricity and magnetism in the second semester of our physics course. Obviously, wave motion is of great importance in physics and engineering. 5.1.2 Types of Waves In some types of wave motion the motion of the elements of the medium is (for the most part) perpendicular to the motion of the traveling disturbance. This is true for waves on a string and for the people–wave which travels around a stadium. Such a wave is called a transverse wave. This type of wave is the easiest to visualize. -
Docunint Mori I
DOCUNINT MORI I. 00.175 695 SE 020 603 *OTROS Schaaf, Willias L., Ed. TITLE Reprint Series: Mathematics and Music. RS-8. INSTITUTION Stanford Univ., Calif. School Mathematics Study Group. SKINS AGENCY National Science Foundation, Washington, D.C. DATE 67 28p.: For related documents, see SE 028 676-640 EDRS PRICE RF01/PCO2 Plus Postage. DESCRIPTORS Curriculum: Enrichment: *Fine Arts: *Instruction: Mathesatics Education: *Music: *Rustier Concepts: Secondary Education: *Secondary School Mathematics: Supplementary Reading Materials IDENTIFIERS *$chool Mathematics Study Group ABSTRACT This is one in a series of SBSG supplesentary and enrichment pamphlets for high school students. This series makes available expository articles which appeared in a variety of athematical periodicals. Topics covered include: (1) the two most original creations of the human spirit: (2) mathematics of music: (3) numbers and the music of the east and west: and (4) Sebastian and the Wolf. (BP) *********************************************************************** Reproductions snpplied by EDRS are the best that cam be made from the original document. *********************************************************************** "PERMISSION TO REPRODUCE THIS U S DE PE* /NE NT Of MATERIAL HAS BEEN GRANTED SY EOUCATION WELFAIE NATIONAL INSTITUTE OF IEDUCAT1ON THISLX)( 'API NT HAS141 IN WI P410 Oti(10 4 MA, Yv AS WI t1,4- 0 4 tiONI TH4 Pi 40SON 4)44 fwftAN,IA t.(1N 041.G114. AT,sp, .1 po,sos 1)1 1 ev MW OP4NIONS STA 'Fp LX) NE.IT NI SSI144,t Y RIPWI. TO THE EDUCATIONAL RESOURCES SI NT (7$$ M A NAIhj N',1,11)11E 01 INFORMATION CENTER (ERIC)." E.),,f T P(1,1140N ,1 V 0 1967 by The Board cf Trustees of theLeland Stanford AU rights reeerved Junior University Prieted ia the UnitedStates of Anverka Financial support for tbe SchoolMatbernatks Study provided by the Group has been Nasional ScienceFoundation. -
Physics 101 Physics
PhysicsPhysics 101101 LectureLecture 2121 DopplerDoppler EffectEffect LoudnessLoudness HumanHuman HearingHearing InterferenceInterference ofof SoundSound WavesWaves ReflectionReflection && RefractionRefraction ofof SoundSound Quiz: Monday Oct. 18; Chaps. 16,17,18(as covered in class),19 CR/NC Deadline Oct. 19 1/32 DemoDemo:: DopplerDoppler ShiftShift Hear frequency as higher when whistle is moving towards you and hear it as lower when moving away from you. Summary: Source & observer approaching, fobs>fs Source & observer separating, fobs<fs Higher Shorter Wavelength Frequency Lower Frequency Longer Wavelength 13-Oct-10 2/32 LoudnessLoudness && AmplitudeAmplitude Loudness depends on amplitude of pressure and density variations in sound waves. 13-Oct-10 3/32 deciBelsdeciBels (dB) (dB) Loudness of sound depends on the amplitude of pressure variation in the sound wave. Loudness is measured in deciBels (dB), which is a logarithmic scale (since our perception of loudness varies logarithmically). From the threshold of hearing (0 dB) to the threshold of pain (120 dB), the pressure amplitude is a million times higher. At the threshold of pain (120 db), the pressure variation is still only about 10 Pascals, which is one ten thousandth of atmospheric pressure. 4/32 5/32 Human Hearing 6/32 7/32 HearingHearing LossLoss The hair cells that line the cochlea are a delicate and vulnerable part of the ear. Repeated or sustained exposure to loud noise destroys the neurons in this region. Once destroyed, the hair cells are not replaced, and the sound frequencies interpreted by them are no longer heard. Hair cells that respond to high frequency sound are very vulnerable to destruction, and loss of these neurons typically produces difficulty understanding human voices.