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Category Archives: Geometry
Just after sunrise on a misty spring morning last year, my fellow acoustician at the University of Salford, Bruno Fazenda, and Rupert Till of the University of Huddersfield, UK, could be found wandering around Stonehenge popping balloons. This was not some bizarre pagan ritual. It was a serious attempt to capture the “impulse response” of the ancient southern English stone circle, and with it perhaps start to determine how Stonehenge might have sounded to our ancestors.
An impulse response characterises all the paths taken by the sound between its source – in this case a popping balloon – and a microphone positioned a few metres away. It is simply a plot of the sound pressure at the microphone in the seconds after the pop. The first, strongest peak on the plot represents the sound that travelled directly from the source to the microphone. Later, smaller peaks indicate the arrival of reflections off the stones. The recording and plot shows the impulse response Bruno and Rupert measured with a microphone positioned at the centre of Stonehenge and a popping balloon at the edge of the circle.
This impulse response represents an acoustic fingerprint of the stones. Back in the lab, it can be used to create a virtual rendition of any piece of music or speech as it would sound within the stone circle. All that is needed is an “anechoic” recording of the raw music or speech – a recording made in a reflection-free environment such as the open air or, better, a specialist anechoic chamber such as we have at Salford. The anechoic recording and the impulse response can then be combined using a mathematical operation called convolution.
The Rockerfeller Foundation’s war on consciousness through the imposition of A=440HZ standard tuning
This article details events in musical history that are central to understanding and treating modern psychopathology, social aggression, political corruption, genetic dysfunction, and cross-cultural degeneration of traditional values risking life on earth. This history concerns A=440Hz “standard tuning,” and the Rockefeller Foundation’s military commercialization of music. The monopolization of the music industry features this imposed frequency that is “herding” populations into greater aggression, psychosocial agitation, and emotional distress predisposing people to physical illnesses and financial impositions profiting the agents, agencies, and companies engaged in the monopoly. Alternatively, the most natural, instinctively attractive, A=444Hz (C5=528Hz) frequency that is most vividly displayed botanically has been suppressed. That is, the “good vibrations” that the plant kingdom obviously broadcasts in its greenish-yellow display, remedial to emotional distress, social aggression, and more, has been musically censored. Thus, a musical revolution is needed to advance world health and peace, and has already begun with musicians retuning their instruments to perform optimally, impact audiences beneficially, and restore integrity to the performing arts and sciences. Music makers are thus urged to communicate and debate these facts, condemn the militarization of music that has been secretly administered, and retune instruments and voices to frequencies most sustaining and healing.
Analyzing the antecedents of current geopolitics and economics, this dirty fact of musical history may be foundational to the status-quo, and instrumental to contemporary sociocultural crises, including modern pandemic psychopathology.
Throughout history there have been persons of wealth and power engaged in war-making, profiteering, and various methods of population control. In 1770, for instance, Mayer Amschel Bauer (a.k.a., Rothschild) developed plans for the creation of the Illuminati, advancing the mission of global domination through a network of central banks that his family and their silent partners controlled. Many reputable authors track today’s degenerative socioeconomic trends, and aboriginal genocides, to the Illuminati’s powerful influence administered through private organizations controlling multi-national corporations and governments (i.e., secret societies and governing councils, such as the Council on Foreign Relations).(6-15)
A new device, vOICe, that translates visual images into “soundscapes” to restore a form of sight to the blind, is turning our understanding of the senses upside down. Some long-term users of the device eventually report complete images somewhat akin to normal sight, thanks to a long-term rewiring of their brains.
From New Scientist:
Kevin Stamplecoskie and Juan Scaiano at the University of Ottawa in Ontario, Canada, can grow silver particles shaped as hexagons, rods, triangles, spheres or dodecahedrons by shining green, red, orange, violet and blue light on the liquid respectively.
The particles are called into being by a burst of ultraviolet light, which causes tiny silver “seeds”, each 3 nanometres across, to precipitate out of the solution. Switching to coloured LEDs of a specific frequency for around 24 hours makes the seeds grow into nanoparticles of a desired shape, each some 50 to 200 nanometres across.
The trick works because the coloured light induces an electromagnetic field around the silver seeds that makes them stick to their nearest neighbours. “The light causes the formation of particles that absorb at [the] wavelength [of the light], and the process continues until all the particles share that absorption,” Stamplecoskie says.
Spectrobits is a VST generator which is part of the KVR developers challenge for 2009. SpectroBits interprets image as a “Spectrogram”. It thus plays the histogram of an image back into the sound spectrum the same way Coagula and other software does. There are many advantages to having this as a VST generator though, the least of which is ease of use and multiple notes to trigger the image from. It also supports .bmp .jpg .png and .gif formats – surely a time saver that will let you avoid .bmp conversions while working on music. Spectrobits has got to be one of the coolest pieces of software to emerge from the KVR developers challenge.