nonmaterialsculptures

[nonmaterialsculptures]

MARY ELIZABETH DALLAS: Children's brains "light up" at sound of mom's voice

As the children listened to clips of the recordings of both their mother and the unfamiliar women, their brains were scanned using MRIs. The researchers found the children could identify their own mother with 97 percent accuracy, even after listening to recordings less than 1 second long.” by MARY ELIZABETH DALLAS

http://www.cbsnews.com/news/childrens-brains-light-up-at-sound-of-moms-voice/

[nonmaterialsculptures]

Twenty Thousand Hertz episode about how (or if) planets in our solar system would sound like when you would be there. Interestingly enough it was mentioned that no one has ever recorded another celestial body with a audio microphone.

“When we think about sound, our only reference is what it’s like here on Earth. What happens when we leave this thin blanket of atmosphere, and what do other planets sound like? Featuring Dr. Lori Glaze, Dr. Keith Noll, Dr. Scott Guzewich from NASA’s Goddard Space Flight Center.”

[nonmaterialsculptures]

Article: making with rainbows – towards a philosophy of sound(in)art

Good read. A thorough article about sound objects. http://sonicfield.org/2015/10/making-with-rainbows-towards-a-philosophy-of-soundinart/

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Shepard declining phenomenon applied to bayer array. Loop

[nonmaterialsculptures]

A Shepard tone, named after Roger Shepard, is a sound consisting of a superposition of sine waves separated by octaves. When played with the base pitch of the tone moving upward or downward, it is referred to as the Shepard scale. This creates the auditory illusion of a tone that continually ascends or descends in pitch, yet which ultimately seems to get no higher or lower. It has been described as a "sonic barber's pole".

[nonmaterialsculptures]

One the swing again...

Newton's Cradle 2014

Video feedback installation, swing, quote

Presented at the Academy of Fine Arts Vienna on during the Rundgang '14. 23-26.01. For more information: http://www.akbild.ac.at/

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Celebrating the first successful image from the portable USB powered scanner I got on eBay

[nonmaterialsculptures]

Experimental checks on photon mass

The photon is currently understood to be strictly massless, but this is an experimental question. If the photon is not a strictly massless particle, it would not move at the exact speed of light in vacuum, c. Its speed would be lower and depend on its frequency. Relativity would be unaffected by this; the so-called speed of light, c, would then not be the actual speed at which light moves, but a constant of nature which is the maximum speed that any object could theoretically attain in space-time. Thus, it would still be the speed of space-time ripples (gravitational waves andgravitons), but it would not be the speed of photons.

A massive photon would have other effects as well. Coulomb's law ( http://en.wikipedia.org/wiki/Coulomb's_law ) would be modified and the electromagnetic field would have an extra physical degree of freedom. These effects yield more sensitive experimental probes of the photon mass than the frequency dependence of the speed of light. If Coulomb's law is not exactly valid, then that would cause the presence of an electric fieldinside a hollow conductor when it is subjected to an external electric field. This thus allows one to test Coulomb's law to very high precision. A null result of such an experiment has set a limit of m ≲ 10−14 eV/c2.

Sharper upper limits have been obtained in experiments designed to detect effects caused by the galactic vector potential. Although the galactic vector potential is very large because the galacticmagnetic field exists on very long length scales, the magnetic field is only observable if the photon is massless. In case of a massive photon, the mass term  would affect the galactic plasma. The fact that no such effects are seen implies an upper bound on the photon mass of m < 3×10−27 eV/c2. The galactic vector potential can also be probed directly by measuring the torque exerted on a magnetized ring. Such methods were used to obtain the sharper upper limit of 10−18eV/c2 (the equivalent of 1.07×10−27 atomic mass units) given by the Particle Data Group.

These sharp limits from the non-observation of the effects caused by the galactic vector potential have been shown to be model dependent. If the photon mass is generated via the Higgs mechanism then the upper limit of m≲10−14 eV/c2 from the test of Coulomb's law is valid.

Photons inside superconductors do develop a nonzero effective rest mass; as a result, electromagnetic forces become short-range inside superconductors.

[nonmaterialsculptures]

EAA Department for Sculpture did have a recording of the show “The Sounds That Constitute Bodies.” Not sure if there’s any copyright but this is the actual recording of the exhibition. As I understand, the exhibition was covered with these sounds - much like vertical gardens, the field recording of flora would produce a very organic environment. I assumed at first that it would be more object related like Michael Brewster’s sound sculptures. I do like the slightly creepy sounds tbh

[nonmaterialsculptures]

In 2006, there was an exhibition at the Navid titled “The Sounds That Constitute Bodies” that was solely based on field recordings. Grzinich was involved, it was curated by Pahlen. I’ve been working on a similar idea - to try to use field recordings from outdoors to somehow construct a presence or movement of a body in a white cube or black box setting.

I did find an essay by Pahlen at the EAA library as well, it’s about disappearing sounds. Some great ideas here about how soundscapes are changing. 

[nonmaterialsculptures]

Homunculus is a term used, generally, in various fields of study to refer to any representation of a small human being.

Popularized in sixteenth century alchemy and nineteenth century fiction, it has historically referred to the creation of a miniature, fully formed human. The concept has roots in preformationism as well as earlier folklore and alchemic traditions. Currently, in scientific fields, a homunculus may refer to any scale model of the human body that, in some way, illustrates physiological, psychological, or other abstract human characteristics or functions.

The homunculus is commonly used today in scientific disciplines, such as psychology, as a teaching or memory tool to describe the distorted scale model of a human drawn or sculpted to reflect the relative space human body parts occupy on the somatosensory cortex (sensory homunculus) and the motor cortex(motor homunculus).

Note for Antony Gormley - the space that the human body occupies.

Both the motor and sensory homonculus usually appear as a small man superimposed over the top of the precentral or postcentral gyrus, for motor and sensory, respectively. The homunculus is oriented with feet medial and shoulders lateral on top of both the precentral and the postcentral gyrus (for both motor and sensory). The man's head is depicted upside down in relation to the rest of the body such that the forehead is closest to the shoulders. The lips, hands, feet and sex organs have more sensory neurons than other parts of the body, so the homunculus has correspondingly large lips, hands, feet, and genitals. The motor homunculus is very similar to the sensory homunculus, but differs in several ways. Specifically, the motor homunculus has a portion for the tongue most lateral while the sensory homunculus has an area for genitalia most medial and an area for visceral organs most lateral. Well known in the field of neurology, this is also commonly called "the little man inside the brain." This scientific model is known as the cortical homunculus.

In medical science, the term homunculus is sometimes applied to certain fetus-like ovarian cystic teratomae. These will sometimes contain hair, sebaceous material and in some casescartilagous or bony structures.

[nonmaterialsculptures]

[ Exhibition in Umeå Sweden confirmed ]

Phototactic Night Life Phototaxis is a kind of taxis that occurs when a whole organism moves in response to the stimulus of light. A series of selected photographs of nature in the city captured under streetlights during the evening will be displayed on one wall of the gallery(a sample photograph shown in figure 1). The chosen wall for this display will be determined according to the position of the trailer.

On the floor of the gallery, there will be a  series of site-specific scanned images displayed in small elevated frames, which the visitors can easily walk around. Regarding the scanned images, the location of the exhibition must be determined beforehand, along with the exact measurements of the floor of the gallery. Thereafter the ground under the trailers determined location must be cleared from snow(if there should be some) for scanning. This must be carefully done since I am particularly interested in finds of greenery such as grass or mould. Then I will scan the area and with a portable flatbed scanner and print images, that will be placed on the exact same postition during the show but inside the gallery space.

Location The trailer should be parked under a streetlight(preferably next to a darker area in the evenings of Umeå such as a park or the far edge of some parking lot) such as shown in the figure 2. The specific location will be determined as possible.

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The Octave Illusion was discovered by Diane Deutsch in 1973. 

Figure shows the pattern that produces the Octave Illusion. Two tones that are spaced an octave apart are alternated repeatedly at a rate of four per second. The identical sequence is played over headphones to both ears simultaneously; however when the right ear receives the high tone the left ear receives the low tone; and vice versa. The tones are sine waves of constant amplitude, and follow each other without amplitude drops at the transitions. So in fact the listener is presented with a single, continuous two-tone chord, with the ear of input for each component switching repeatedly.

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Sketch Installation piece featuring three key elements, a swing, two cameras, two projectors, silver screen and a pair of polarized classes for the viewers. The visitors are invited to take a swing inside the project space featuring a brief collision with a three-dimentional digital projection of themselves. While swinging faster(and further), the visible 3D hologram coming off the silver screen in front, seen through the polarized glasses, will also keep swinging closer to the viewer. The distance is calculated so that it is possible to meet with the projection at higher speeds. The act of swinging, with the effect of inertia, presents a feel of shifted gravity towards the generated movement of the body via its mass. The focus here is to have these two experiences, feel of change in the central point of gravity and the possibility of contact with a virtual self, as a challange, always to be held back by laws of physics. The aim of the project is to give the viewers a new experience to meet with a digital representation of themselves that is by standart usually distant.

The first title for this piece is Contact