Atmospheric / Acoustic Sound Waves and Liquid Waves 3 (quantum)

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With further consideration into insights and discoveries of sonic investigation and acoustics, through my continuing work with the RT60 project, recent comparisons with Atmospheric / Acoustic Sound Waves and Liquid Wave similarities, various series and studies of sound, synthesis, and wave phenomena, composition, and all other branches of congruent sonic inquiry, I could not help but come to greater questions about the role of sound as a fundamental quantum subject, in its behavioral characteristics and mechanical attributes, and as well to demonstrate the notion of quantum function in relatively simple terms when compared to dividing or multiplying materials or examining at infinitesimal perspectives. Sound, in essence, is energy transmission, especially that of pure mechanical variety. Upon some stimulus, a finger tapping a drum for example, the stricken drum head vibrates in accordance to all the known material and mathematical measurements. Beyond this, sound (energy of the initial strike) is as well transmitted from the vibrating drum head, through the resonating body of the drum chamber (wood in this case), both absorbing into itself and further transmitting the energy into the surrounding pool of acoustic atmosphere, a room for example, and both partially absorbed and reflected into and from every surrounding material form and surface in the vicinity, with the reflections reintroducing infinite varieties of reflected combinations, especially in spaces with longer reverb times or saturated sound activity. Particularly pertinent is that this process is relatively non-linear, and decreasingly so in the timeline of events, with each of those occurrances simultaneously carried out and effecting the others.

A similar such process can be simply observed in the recent acoustic / liquid waves series investigation, as the light breeze induced water surface waves transmit energy in all directions, reacting at each infinitesimal moment with each material particle (water, sand, shells, rocks) in equally as infinite mechanical responses, until reaching border forms / surfaces (rocks) where the transmitted energy is partially absorbed and partially reflected back into the pool where the previously stated formula continues itself exponentially until all of the transmitted energy has dissipated or been completely absorbed. During this process of propagation, the single stimulus and point of energy emanation manifests itself in multitudes of energy transmission forms and gauges, as well as shares unique and specific relations with each infinite minute property with which it interacts, including effecting or transforming property traits when for example transforming rock to sand, or creating specific forms like sand spits by sweeping collective grains of sand. Could it not be said that, although relatively brief, during its life span of transmission, the single drum strike gains infinite ever changing lifeform in all its points and positions of the time / space realm?

Alan B. Richmond / www.audioeins.com

Copyright 2017. All Rights Reserved.

Acoustic Sound Waves / Liquid Waves 2

 

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In observing similar wave behavior characteristics in atmospheric/ acoustic and liquid materialities, as was illustrated in yesterdays investigation and related video, further deductions and findings are discovered  in other videos and images of the same series investigation, setting, and conditions. While panning closer to the shore line, where rocks present a collective boundary or ‘wall’, waves viewed in previous video and images can be seen reaching the rock forms, and reflecting in various directions from their surfaces, while portions of the original wave energy are dissipated into the rocks themselves through energy absorption. Visible are the constant changes in frequencies and reflections, as well as various correlating responses such as waveform modulation types, subtractive and additive processes, phase occurrences, and other such wave phenomena. And like other aspects, these behavioral attributes are similar to those of structural and acoustic settings. Just as we see liquid waves reflect from the rocks, so do acoustic sound waves from various walls, windows, doors, interiors, and any and all other relevant forms and surfaces, as reverberation. And as with the waves and rocks, a portion of sonic energy absorption occurs into or through these forms and surfaces, especially depending on the material construct and quality of the reflecting form (wood, concrete, glass, etc). Particularly noteworthy of these attributes and revelations, is the visual realization of reverberation waves interacting with all other waves within the pool, creating even further complex reflections with inconsistent altered variation, and despite seemingly stationary structural position, constant and infinite flux.

Alan B. Richmond / www.audioeins.com

Copyright 2017. All Rights Reserved.

Acoustic Sound Waves / Liquid Waves

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Posted to Instagram:

Atmospheric / acoustic sound waves and liquid waves (especially water) have similar behavioral characteristics, and thus so much about invisible sound phenomena can be learned, visualized, or examined through water. For instance, today while enjoying mid day warming sunshine of the Olympic Peninsula, I was able to witness reflection shadows of water surface waves in the icy crystal clear shallow shore line. Because these waters are so shallow, with slow mild tidal conditions, as well as only the slight breeze that rippled the water surfaces in accordance to the wind patterns, direction, and sources of the day and any other mild weather variables, it could be fairly deduced that these waves are largely constructed by slight wind disturbances on the water surface, much like sound waves vibrating a microphone transducer, a stricken drum head, or plucked guitar or piano strings, etc. As a result, the continual flow of variations of these waves is not unlike the continual flow of atmospheric acoustic wave activity that coincides with each and every sonic event stimuli and shift, at even the most subtle and nuanced level, creating a pool of sound that is in constant state of change. From bird songs and calls to automobile traffic, human voices to industrial hum, and all other aspects of corresponding environmental occurrence, both of nature and civilization, even the slight sound of rippling water itself, construct an endless complex sonic composition and atmospheric flux. #audioeins #acoustics #atmosphere #sound #experimentalsound #physics #science #nature #nautical #pacificnorthwest #washingtonstate

Alan B. Richmond / www.audioeins.com

Copyright 2017. All Rights Reserved.

Waves Of Coalescing Opposition, 2016

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Waves Of Coalescing Opposition, 2016, By Alan B. Richmond / audioeins

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

Boundless Waves Of Light, 2016

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Posted To instagram:

Boundless Waves Of Light 2016, By Alan B. Richmond.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

 

 

Sonny Boy, 2016

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Posted today to audioeins Instagram, a new sound/video work:

Sonny Boy, 2016, by Alan B. Richmond / audioeins. (Part 1,2,&3) #audioeins #electronicmusic #experimentalmusic #noise #synthesis #iOSproduction #improvisation

 

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

Dungeness Series

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All great arts have their own technologies, and all great technologies are works of art. The local commercial fishermen and women of the Olympic Peninsula in Washington State in the Pacific Northwest United States were hard at work again today, the final day of a brief seasonal opening for a catch of the world renowned Dungeness Crab, a namesake of these waters from which they come. While watching the multitude of these busy artists working within their ranks and files, I was impressed to witness the signature styles and systems displayed through each individuals set of tools. A myriad of sizes, shapes, colors, and textures of their materials made for a fine exhibition, all adhering to each sense of personal order, operational precision, and identification and logistical expression. Equally impressive it was, to learn from them what this process entails, from market pricing variances dependent on harvest locally, regionally, and in the general market, to a high percentage of export outside of the United States (largely to Asia), to the calculated efforts and approaches towards environmental conservation and protection, and on all relevant resources. The process proves itself an art form yet again by the realization that the work they are compelled to do, in this case to bring delicacy and sustenance to the public, is the same regardless of what the market valuation is at the time, and on the risks and associated gains and losses. Its quite an endeavor to be undertaken largely on speculation. This seasons local harvest appeared to be healthy and positive, and hopefully will be greatly enjoyed by many in the weeks to come.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

 

‘Shrouds’

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Todays Mantra: at audioeins instagram, a sample of ‘Shrouds’, a cyclic noise / beat composition constructed wholly from the recorded sounds of a sailboats companionway, such as harbor tides, waves, currents and docks swaying the monohull vessel, and the sound of the wind searing through an orchestra of included and neighboring vibrating mast stays, sheets, and other structural and mechanical lines while at Liberty Bay Marina in Poulsbo Washington, in the Pacific Northwest United States.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

RT60 / S.R. Crown Hall Impulse Response #3

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RT60: The Authenticity Of Space Through Sound. SR Crown Hall building at IIT (College Of Architecture) in Chicago, by Ludwig Mies van der Rohe. This building is widely acknowledged as a Mies masterpiece, and has proudly been added to the RT60 project, representing post war (and post Bauhaus) modernism of the United States and of international standing. The early acoustic investigation of this buildings Impulse Responses yields a fascinating modulating decay as reverberant sound ricochets from the glossy perpendicular hard surfaces of glass, stone, and steel and symmetrical structural forms. This photograph is an image of the frequency and temporal decay characteristics of the buildings reverberation and impulse response. The lower image is the nearly two second core impulse of the sonic event, with the lowest and most prominent frequency range contained by a yellow rectangle. These frequencies consist of mostly room resonances and noise floor fundamentals. The pink rectangle contains the lower range frequencies of reverberation, including nearby traffic, structural mechanics, and other such sounds. The green rectangle contains ambient sounds of conversation, room activity, structural mechanics and other resonances, and the primarily focused sound of the impulse event, as seen as a raised mound of frequencies in the earliest impulse point. The top image is an impulse response of the exact same event, including the additional decay time for the reverberant reflections (echoes) to completely dissipate, indicated by the blue rectangle. The RT60 project was further developed with research and development grant support from the Graham Foundation For Advanced Studies In The Fine Arts and technical support from Audio Ease of Altiverb.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

RT60/ S.R. Crown Hall Impulse Response #2

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RT60: The Authenticity Of Space Through Sound. SR Crown Hall building at IIT (College Of Architecture) in Chicago, by Ludwig Mies van der Rohe. This building is widely acknowledged as a Mies masterpiece, and has proudly been added to the RT60 project, representing post war (and post Bauhaus) modernism of the United States and of international standing. The early acoustic investigation of this buildings Impulse Responses yields a fascinating modulating decay as reverberant sound ricochets from the glossy perpendicular hard surfaces of glass, stone, and steel and symmetrical structural forms. This photograph is an image of the frequency and temporal decay characteristics of buildings reverberation and impulse response. The lower image is the nearly two second core impulse of the sonic event, where at its end, modulation and other characteristics heard and seen in recent posts of this building can be seen in topographical form and by the waving edge. The top image is an impulse response of the same event, including the additional decay time for the reverberant reflections (echoes) to completely dissipate. The pink lines are correspondent points of the same impulse. The green squares contain the dominant frequencies (relatively narrow band focused) of this particular sonic event. The small blue vertical lines are temporal markers of the same point. The RT60 project was further developed with research and development grant support from the Graham Foundation For Advanced Studies In The Fine Arts and technical support from Audio Ease of Altiverb.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.