Name: Parker Solar Probe - Whistler Mode Waves 1 by Johns Hopkins APL in Sounds of the Solar Wind
Duration: 14 s
Description: One year and three trips around the Sun later, NASA's Parker Solar Probe heard some weird, sci-fi sounds from plasma within the solar wind -- and those sounds may answer unanswered questions about how the wind forms.

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One year and three trips around the Sun later, NASA's Parker Solar Probe heard some weird, sci-fi sounds from plasma within the solar wind -- and those sounds may answer unanswered questions about how the wind forms.

Sounds of the Solar Wind

Messier 51 (M51) is perhaps better known by its nickname, the Whirlpool Galaxy, because its face-on orientation to us highlights its winding spiral arms. This gives our telescopes a different perspective on a spiral galaxy similar to our Milky Way, whose structure we cannot observe directly since we’re inside it. The sonification tracks along a line emanating from the galaxy's core to the edge of the image and scanning clockwise. The light encountered by this line has been mapped to the notes of a melodic minor scale. The sequence represents optical data from NASA’s Hubble Space Telescope. 

At this wavelength, the spiral arms are prominent, so the pitch creeps upward as the spiral stretches farther from the core. The bright core, which harbors a supermassive black hole, produces a constant low hum punctuated by short sounds from compact bright sources within the galaxy. 

Credit: Optical: NASA/ESA/S. Beckwith & Hubble Heritage Team (STScI/AURA); Sonification: NASA/CXC/SAO/Kimberly Arcand, SYSTEM Sounds (Matt Russo, Andrew Santaguida)

M51 Optical Light Sonification

The joint ESA/Jaxa BepiColombo mission flew past Mercury for the first time on 1 October 2021, capturing data with the magnetometer onboard ESA’s Mercury Planetary Orbiter. A sonification of the magnetic field data is presented here.  
 
Two synthesizers can be heard, which are controlled by three characteristics of the magnetic field. The first synthesizer's pitch represents the slowly changing magnitude of the background magnetic field. First the solar wind is heard, then the increase and decrease of the planetary magnetic field, and then the solar wind again. The lower the pitch, the more intense the magnetic field. 
 
The pitch of the second synthesizer is controlled by the variations of the magnetic field magnitude. A more turbulent magnetic field is represented by a faster change in pitch. The magnetosheath crossing after closest approach is very prominent. 
 
Using the amplitude envelope as a control for the volume of the second synthesizer emphasises the different magnetospheric regions.
 
Full story 
https://www.esa.int/Science_Exploration/Space_Science/BepiColombo/BepiColombo_s_first_tastes_of_Mercury_science

Credit: ESA/BepiColombo/MPO-MAG/IGEP-IWF-IC-ISAS

Image credit: ESA/ATG medialab

Sound of the solar wind at Mercury

Stardust: Passing Comet Tempel 1

250114-ambient guitar

Ambient Guitar 2025/2/26

On April 12, 2025, I released a digital version of a four-song work that reworked the music from the Beta series. I took an experimental approach to this work, exploring different possibilities from the edited data I had already finished, and mixing phrases from two different songs from two albums. I hope you will listen to it. The artwork is also by sculptor Yusuke Tsuchiya.

Streaming & Download

zie+hueli rework

From the soft, digital murmur of notation software and the absence of physical instruments, The FURICO Music Team (FMT) emerges, not as a band, but as a motion. A pendulum. A thought experiment materialized in waveform. 

Founded in Japan and composed of members TM and TI, FMT is less a musical group than a conceptual unit for sonic construction, deconstruction, and transformation. Describing their works as Auditory Art, FMT doesn’t simply make music; they create what they call "Auditory Art," where sound is both the medium and the inquiry. Every note is born in a digital void, composed entirely through notation software and production tools, unbound by fingers or fretboards. It’s a practice that reveals new sonic geometries and emotional architectures built in impossible spaces. 

Their latest album, Le Cube Dans Mon Rêve (The Cube in My Dream), is a speculative sonic response to Cubism, not its visual representations, but its method. Its disassembly. Its ghostly logic. The origin spark was a quietly buried drawing by a guest collaborator, Chiaki Tamura, a torn, reassembled work titled Temps et Regard (Time and Gaze), which became both a mirror and a catalyst for TM’s reexamination of Cubist thought in sound. 
As TM reflects, "Music history seemingly skipped a Cubist movement. While visual arts progressed through Fauvism, Cubism, Expressionism, and Futurism before reaching abstraction, music moved almost directly from Impressionism to dodecaphony, as developed by Arnold Schönberg and others."  What if that missing chapter had existed? What if sound could be prismatic? What if musical time, like a shattered face in a Braque or a bottle in a Picasso, could be reassembled, fragmented, and out of order? 

The album unfolds in the exact order of its creation, beginning with Cube 1: Le Déclencheur (Trigger), a foundational piece inspired by Cézanne’s visual innovations and imagined as a kind of "Neo-Impressionism" in sound, using tonal ambiguity and rhythmic displacement to suggest fragmented perception. Originally intended as part of a suite with Cube 2: Les Tentatives (Attempts), a geometric deconstruction of the first, these two works became the seed from which the remaining tracks organically emerged, each one reflecting a new facet of the same conceptual object as it is turned, refracted, and glimpsed from shifting angles. 

Though FMT’s work is forward-leaning, it resonates with the subtle futurism and ambient sophistication threaded through Japan’s proto-electronic history. Their music evokes, not imitates, the spatial elegance of Interior, the crystalline classicism of Satsuki Shibano, the fluid bass geographies of Motohiko Hamase, and the generative logic that once launched YMO into myth. These references aren’t about genre, but rather a shared instinct to reshape sound into unfamiliar, emotional forms. FMT extends this lineage not by homage, but by dismantling its language to sculpt new, imagined architectures. 

But this is no academic exercise. FMT’s palette is strange and delicate, sometimes cool and distant, sometimes tenderly off-balance. Sounds echo without sources. Rhythms that seem to emerge in rehearsal. Voices, or echoes of them, drift in and out like fleeting thoughts. It's music composed not to replicate Cubism, but to dream it, to simulate its psychological weight as well as its form. As the album's subtitle implies, Le Cube Dans Mon Rêve is Cubism remembered as it never was: a dream fragment of a movement music never had.

The FURICO Music Team - Cube 6: L'Avant Et L'Arrière (Le Cube Dans Mon Rêve, 2025)

Using data from NASA's THEMIS mission, scientists have discovered that when the magnetopause -- the outer boundary of Earth's protective magnetic field -- is struck by a jet of plasma from the Sun, it vibrates like a drum. Waves echo back and forth along its surface, much like they do on top of a drumhead.  Read the full story: https://go.nasa.gov/2RUS7Le

Sounds of Earth's Magnetic Drum in Space

Parker Solar Probe - Whistler Mode Waves 2

Parker Solar Probe - Whistler Mode Waves 1

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Parker Solar Probe - Dispersive Chirping Waves 2

Parker Solar Probe - Dispersive Chirping Waves 1

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The Johns Hopkins University Applied Physics Laboratory (APL) is a not-for-profit center for engineering, research & development. Likes and follows ≠ endorsements.

Parker Solar Probe - Whistler Mode Waves 1

Johns Hopkins APL

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