Showing posts with label Hans Jenny. Show all posts
Showing posts with label Hans Jenny. Show all posts

Saturday, June 15, 2013

Musical Acoustics


A recipe for a violin

Chladni patterns show the geometry of the different types of vibration of violin plates. This site has an introductory explanation of modes of vibration and a library of photographs of the Chladni patterns of the bellies and backplates of two different violins (one mass-produced and one hand-made). It also has photographs of plates with regular geometries which assist in understanding the violin modes. For some related history, see Chladni's law. For some Chladni patterns on metal plates, with sound files, see Acoustics of bell plates. To make your own Chladni patters, try this site.








See Also:

Sunday, June 26, 2011

A General Guide to Harmonic Analysis and Beyond


Thanks to Clifford of Asymptotia for the Link too, and from Good Vibration

Some of us do look toward these analogies as signs of Complexity science, so as to apply this thinking to the life they lead. How such implementations allow them to look at this life very differently.

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Each time the operator tuned to a new frequency, the wave was very simple and repetitive, just as above. This wave can be expressed by only two qualities: frequency and amplitude, and yet each new frequency created a new and many times surprisingly different result than it’s neighbor.

This phenomenon is analogous to all aspects of Complexity Science. And just like the simple rules set by the speaker in the video, an economy can achieve surprisingly complex results with simple rule sets.
Harmonic Science
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In classical mechanics, a harmonic oscillator is a system that, when displaced from its equilibrium position, experiences a restoring force, F, proportional to the displacement, x:
 F = -k x \,
where k is a positive constant.
If F is the only force acting on the system, the system is called a simple harmonic oscillator, and it undergoes simple harmonic motion: sinusoidal oscillations about the equilibrium point, with a constant amplitude and a constant frequency (which does not depend on the amplitude).
If a frictional force (damping) proportional to the velocity is also present, the harmonic oscillator is described as a damped oscillator. Depending on the friction coefficient, the system can:
  • Oscillate with a frequency smaller than in the non-damped case, and an amplitude decreasing with time (underdamped oscillator).
  • Decay exponentially to the equilibrium position, without oscillations (overdamped oscillator).
If an external time dependent force is present, the harmonic oscillator is described as a driven oscillator.

Mechanical examples include pendula (with small angles of displacement), masses connected to springs, and acoustical systems. Other analogous systems include electrical harmonic oscillators such as RLC circuits. The harmonic oscillator model is very important in physics, because any mass subject to a force in stable equilibrium acts as a harmonic oscillator for small vibrations. Harmonic oscillators occur widely in nature and are exploited in many manmade devices, such as clocks and radio circuits. They are the source of virtually all sinusoidal vibrations and waves.
Simple Harmonic Motion Frequency
The frequency of simple harmonic motion like a mass on a spring is determined by the mass m and the stiffness of the spring expressed in terms of a spring constant k

The Landscape “avant la lettre” by A.N. Schellekens

The lowest harmonics correspond to the particles of the Standard Model, plus perhaps a few new particles. The higher harmonics correspond to an infinite series of particles that we can never observe, unless we can build a Planck Energy accelerator


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See Also:

The Sound The Universe Makes

Cymatics and the Heart Song

Sunday, August 15, 2010

Cymatics and the Heart Song

I think one has to wonder with such diversities of souls who have entered this world, such distinctions of being identified as a "emergent product of all souls" might have a distinctive element with which lives could have been choreographed. Each soul, manifests according to their Heart Song? :)Each Heart Song is carried through a series of many lives? Each Heart Song,manifests according the conceptual acceptances and digestibility of our grokking, according to each circumstance that surrounds that life?



I just finish spending the last 8 days with two of my seven grandchildren. One had passed just a couple of days after being born.

Yes "Happy feet" has become a intricate part of my days visiting as these children are mesmerized by the hearts songs and uniqueness of being borne learning to tap instead of singing. It's trials and tribulations of being different.
See:It's a Penquin?
Biology sees no possible reduction to the physics of thinking,  that I have to wonder if they might of thought of the correlation here, as distinctive elements have distinctive sounds?

It's an anologistical way of looking at the space of thinking(mind /body) to have it coincide with somethng inherent in our make up.  Some thing that is correlative to what strides the thinking mind makes and what resonances in the world are set up for each soul distinctive?  Each soul's cause and effect,  bringing home to roost the conceptually formed resonances that have been formed " by grokking and digestibility.

For example, in 1704 Sir Isaac Newton struggled to devise mathematical formulas to equate the vibrational frequency of sound waves with a corresponding wavelength of light. He failed to find his hoped-for translation algorithm, but the idea of correspondence took root, and the first practical application of it appears to be the clavecin oculaire, an instrument that played sound and light simultaneously. It was invented in 1725. Charles Darwin’s grandfather, Erasmus, achieved the same effect with a harpsichord and lanterns in 1790, although many others were built in the intervening years, on the same principle, where by a keyboard controlled mechanical shutters from behind which colored lights shne. By 1810 even Goethe was expounding correspondences between color and other senses in his book, Theory of Color. Pg 53, The Man Who Tasted Shapes, by Richard E. Cytowic, M.D.

So to then in my thinking that before each soul crystallizes it's hold on the reality of being in this world,  that each soul was in a much different state. A state that the senses held no distinctions other then too, sense "all things" as connected to each other.  The differentiations were our attempts to acceptance of living within this world that it should have it;s compartments for sensory outputs distinctive themselves. See:Soul Food

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Cymatics

From Wikipedia, the free encyclopedia


Resonance made visible with black seeds on a harpsichord sounboard
Cornstarch and water solution under the influence of sine wave vibration
Amplified sine wave's effects on cornstarch & water solution
Cymatics (from Greek: κῦμα "wave") is the study of visible sound and vibration, a subset of modal phenomena. Typically the surface of a plate, diaphragm, or membrane is vibrated, and regions of maximum and minimum displacement are made visible in a thin coating of particles, paste, or liquid.[1] Different patterns emerge in the exitatory medium depending on the geometry of the plate and the driving frequency.
The apparatus employed can be simple, such as a Chladni Plate[2] or advanced such as the CymaScope, a laboratory instrument that makes visible the inherent geometries within sound and music.[clarification needed]

Contents


Etymology

The generic term for this field of science is the study of modal phenomena, retitled Cymatics by Hans Jenny, a Swiss medical doctor and a pioneer in this field. The word Cymatics derives from the Greek 'kuma' meaning 'billow' or 'wave,' to describe the periodic effects that sound and vibration has on matter.

History

The study of the patterns produced by vibrating bodies has a venerable history. One of the earliest to notice that an oscillating body displayed regular patterns was Galileo Galilei. In Dialogue Concerning the Two Chief World Systems (1632), he wrote:
As I was scraping a brass plate with a sharp iron chisel in order to remove some spots from it and was running the chisel rather rapidly over it, I once or twice, during many strokes, heard the plate emit a rather strong and clear whistling sound: on looking at the plate more carefully, I noticed a long row of fine streaks parallel and equidistant from one another. Scraping with the chisel over and over again, I noticed that it was only when the plate emitted this hissing noise that any marks were left upon it; when the scraping was not accompanied by this sibilant note there was not the least trace of such marks.[3]
On July 8, 1680, Robert Hooke was able to see the nodal patterns associated with the modes of vibration of glass plates. Hooke ran a bow along the edge of a glass plate covered with flour, and saw the nodal patterns emerge.[4][5]

In 1787, Ernst Chladni repeated the work of Robert Hooke and published "Entdeckungen über die Theorie des Klanges" ("Discoveries in the Theory of Sound"). In this book, Chladni describes the patterns seen by placing sand on metal plates which are made to vibrate by stroking the edge of the plate with a bow.
Cymatics was explored by Hans Jenny in his 1967 book, Kymatik (translated Cymatics).[6] Inspired by systems theory and the work of Ernst Chladni, Jenny began an investigation of periodic phenomena but especially the visual display of sound. He used standing waves, piezoelectric amplifiers, and other methods and materials.

Influences in art

Hans Jenny's book influenced Alvin Lucier and, along with Chladni, helped lead to Lucier's composition Queen of the South. Jenny's work was also followed up by Center for Advanced Visual Studies (CAVS) founder Gyorgy Kepes at MIT. [7] His work in this area included an acoustically vibrated piece of sheet metal in which small holes had been drilled in a grid. Small flames of gas burned through these holes and thermodynamic patterns were made visible by this setup.

Based on work done in this field, photographer Alexander Lauterwasser captures imagery of water surfaces set into motion by sound sources ranging from pure sine waves, to music by Ludwig van Beethoven, Karlheinz Stockhausen, electroacoustic group Kymatik(who often record in surround sound ambisonics), and overtone singing.



Rosslyn Chapel's carvings are thought to contain references to Cymatics patterns and in 2005 composer Stuart Mitchell and his father T.J.Mitchell created a work realised by the use of matching Cymatics/Chladni patterns to the 13 geometric symbols carved onto the faces of 213 cubes emanating from 14 arches. They have named the completed work The Rosslyn Motet and has received a great deal of media publicity and acclaim from scientific and musicological sources.

See also

References

  1. ^ Jenny, Hans (July 2001). Cymatics: A Study of Wave Phenomena & Vibration (3rd ed.). Macromedia Press. ISBN 1-8881-3807-6. 
  2. ^ "Instructional Research Lab: Chladni Plate". University of California, Los Angeles. http://www.physics.ucla.edu/demoweb/demomanual/acoustics/effects_of_sound/chladni_plate.html. Retrieved 3 September 2009. 
  3. ^ Good Vibrations, Joyce McLaughlin, American Scientist, July-August 1998, Volume: 86 Number: 4 Page: 342, DOI: 10.1511/1998.4.342
  4. ^ Ernst Florens Friedrich Chladni, Institute for Learning Technologies, Columbia University
  5. ^ Pg 101 Oxford Dictionary of Scientists- Oxford University Press- 1999
  6. ^ Jenny, Hans (1967). Kymatik. ISBN 1-888138-07-6
  7. ^ Gyorgy Kepes profile at MIT

 External links


Monday, March 02, 2009

ta kymatika

......in Greek means "matters pertaining to waves." Or in Hans Jenny's case Cymatics.

There were other images which mirrored biological forms and natural processes, as well as flowers, mandalas and intricate geometric designs - all this the result of audible vibration. These experiments seemed to reveal the hidden nature of creation, to lay bare the very principle through which matter coalesced into form.PUBLISHER'S CONFESSION by Jeff Volk, January 2001 Newmarket, New Hampshire, USA


I hope I will not see some so lost by accepting an "mystic interpretation," as some sign of engaging the decay of the scientific values. As Nature being the Architect, and in recognition of our builders of science, I have always been enthralled by what nature could have supplied. Not only in such designational feature of sound that is telling, but of what SOHO is to supply. How we see the Cosmo in relation to the WMAP. How such a "gravitational spectrum" maps the earth "in assumption" of the rules of relativity. We now see earth much different. Not so round and pretty:)

There are two reasons that having mapped E8 is so important. The practical one is that E8 has major applications: mathematical analysis of the most recent versions of string theory and supergravity theories all keep revealing structure based on E8. E8 seems to be part of the structure of our universe.

The other reason is just that the complete mapping of E8 is the largest mathematical structure ever mapped out in full detail by human beings. It takes 60 gigabytes to store the map of E8. If you were to write it out on paper in 6-point print (that's really small print), you'd need a piece of paper bigger than the island of Manhattan. This thing is huge.


See:Pasquale Del Pezzo and E8 Origination?-Monday, March 19, 2007

I would like to clarify that such patterns are somewhat "given to people in recognition of states" that are much closer to that "decomposable limit" that is declared by Connes in his articulation of the mathematics.

Such "decomposable limits" are the recognition of "pure states" becoming condensible. While we may think of the allotrope and their configurations, what is the final product given in the arrangement of the matters specific? Is there some "higher version of geometrics" that we had lost, while we see only the matter at hand.



IN this mandala above it is by design that human nature sought to construct the basis and foundation of experience so that it could be a record for all time. This is an intentional act to build in experience an foundational perspective. This is one time where we might use such a mind map to be used in this context. People become enthralled too, by the beauty of flower under computerize algorithmic code manipulated image because it is pleasing to the eye, while, there is another time where these "pure states" become the reflection of an intense experiential journey of sorts.

Sort of like, discovering new math and by definition, a decomposable limit.

ON the one hand you might say, well, this case its matter defined then, and while I am saying this is in the image of the mind, that too is a coalescing of the pure state, into a image form.

Such an kaleidescope view of the most intangible seems fitting that it defines a complex recognition state that was not accessible, before, this intense info packet had descended into the mind.

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  • The Geometrics Behind the Supernova and it's History
  • 13th Sphere of the GreenGrocer
  • E8 and the Blackhole
  • Sunday, May 21, 2006

    Past Life Bleed Throughs?

    In studying over the many years, certain concepts and ideas brought from other cultures stayed with me of course, while I explored the dream world enviroment on my own.

    The idea here is that similar patterns used in construction of mandalic interpetations, serve to illustrate model applications, that when bleeding, overlap experiences, whether they be drean information gathered, or, historical correlations, these struck me as significant.

    This is not to say that all people who dream will be good mathematicians, just that the road to cogitive realization held in context of Ramanujan should be seen as the developing subsconscious as a very important tool in moving the cogitive revelations that the creative mind can utilize, in developing math models for the future?

    THatpattern had to be understood a dLimincentric structures as well. If you didn't you would not have seen the importance of the schematics that Liminocentric structures reveal of themself as mandalic models of intepretation.



    See:

  • A Pure Love of Math


  • A Tribute to Hinduism

    The inexhaustible Ramanujan was an observant Hindu, adept at dream interpretation and astrology. His work was marked by bold leaps and gut feelings. Growing up he had learned to worship Namagiri, the consort of the lion god Narasimha. Ramanujan believed that he existed to serve as Namagiri´s champion - Hindu Goddess of creativity. In real life Ramanujan told people that Namagiri visited him in his dreams and wrote equations on his tongue.

    Ramanujan could never explain to G H Hardy how he arrived at his deep insights in mathematical terms; but he did say many of his discoveries came to him in dreams, from the goddess Namakkal, and that he had a morning ritual of awakening and writing them down.


    Having heard of Ramanujan method of information gathering, it was interesting from the standpoint of how the consciousness could organzed itself and bring forth abstract notions(jumbling experiences in that dream world), to have the method of mathematical explanation bear tangible proof in our reality now.

    This is of course are some of the ideas I have around cognitive recognitions of getting to the source of creation and bringing back tangible equative solutions.



    Perhaps it is of some use for a example to better understand this?

    While journalling for many years and recording my dreams, I came up with what I called "dream poetry," because I wanted to try and catch the rhythmn and story behind it as best I could without subjecting it to the scrutinization of my mind and analysis.

    Of course having a pen and paper beside the bed was always good advice. There was always a definite difference in the lucidness of those dreams, that seemed to indicate this past life referencing, then the normal dream periods.

    Also by doing this "awareness of the dream time" it became very pronouced in terms of the recall before getting busy with the day.



    Mandalas:
    Since ancient times, Mandalas have been used for meditation and healing. In old Tibet, Mandalas were used in the process of training the mind to be quiet, so that That Still Place Within was more easily accessible.

    It was said that the Divine lives at the center of the Mandala. With that in mind, the Mandala was used as a focus point for meditation.

    As the mind quiets and becomes still, the meditator finds the Divine at the center of his own being.

    I read about this use of Mandalas years ago. When this series of designs came through me, I realized that that was the intent within them: that the Divine would reside at each design's center.

    Research I've done indicates that Mandalas are the visual forms of the resonance traces of specific frequencies of sound/light. Some pretty amazing research done by Hans Jenny shows that if sound is transmitted through a thin layer of sand on a metal plate, the sand vibrates in such a manner as to create designs in the sand, the patterns shifting with the sounds transmitted.




    If one wanted to pursue it further then it makes sense that the Chaldni plate becomes a interesting piece of equipment in analyzing the nature of such vibrations. A balloon dipped in a dye solution and subjected to different sounds, has an interestig perspective to it.

    Nodes and anti-nodes



    On beautiful mandalic designs see:

  • Flower Mandalas Project