Sonifications of Geology

timbre

Bellemo Stefano: registrazioni di tubi di alluminio, superfici metalliche percosse e strofinate- registrazioni sul campo di acqua e ghiaccio- manipolazioni con SuperCollider, Flux IRCAM-Tools.
Anno prod. 2013/14
Grazie per la vostra attenzione.

Risonanze

Source:http://www.dailymail.co.uk/news/article-2594184/Earth-youve-never-seen-Deserts-mountain-ranges-rivers-look-like-world-beautiful-aerial-photographs.html

Image: http://files.lossofgenerality.com/kavir.jpg  
Image Copyright: IronAmmonitePhotography.com/REX   Mr. Williams 

Corner Filter:
https://reference.wolfram.com/mathematica/ref/CornerFilter.html 
Image Processed: http://files.lossofgenerality.com/kavir_corners_attack.jpg 

The corner filter image was give 1 attack in MetaSynth.

MetaSynth Configuration

{
x=1024, y=768
E-1
BPM=10
MultiSampler=PR Trance Strings

Scale=Harmonic Repeated 8 dt 96

}

Scale
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96
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Kavir Corners

Source:www.dailymail.co.uk/news/article-25…hotographs.html 
See Also: https://soundcloud.com/dara-o-shayda/kavir-corners 

Kavir Corners was midified via Melodyne (Mono):

http://files.lossofgenerality.com/KavirWind.mid

Counterpoint arrangement in Logic Pro.

Kavir Fugue

Source:www.dailymail.co.uk/news/article-25…hotographs.html

Image: http://files.lossofgenerality.com/eroded_salt_dome.jpg
Image Copyright: IronAmmonitePhotography.com/REX Mr. Williams

Corner Filter:
reference.wolfram.com/mathematica/re…nerFilter.html 
Image Processed: http://files.lossofgenerality.com/satdome_corner_attack.jpg 

The resulting sonification midified by Melodyne (Mono):

http://files.lossofgenerality.com/saltdomeOrch.mid

MetaSynth Configuration

{
x=1024, y=768
E-2
MultiSampler=Slow Arch Vibrato
Attach 1
BPM=20
Stereo
Scale=Harmonic Repeated 8 dt 96

}

Scale
! harmonic series, repeated 8 times with detunings

96
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}

Kavir's Saltdome Orchestra

This is so beautiful, I simply had to share it! I used the Pisano Periods to generate melodies. It is so simple and beautiful, I can hardly imagine no-one has ever tried this before. Anyway, here it is.  This track was inspired by https://www.youtube.com/watch?v=Nu-lW-Ifyec

Sourcecode available at http://sccode.org/1-4Wb

Pisanomelodies

Sonification of changes in the Antarctic Ice over 400,000 years. Variables include ice surface area, ice surface volume, floating ice area, floating ice volume, solar radiation, basil temperature, and sea level. This sonification was created in collaboration with Professor Mark Ballora, and performed at Penn State's Polar Day in collaboration  with the Polar Center. 

Polar Ice Sonification

Nabro Volcano emitted water vapor, volcanic ash, and copious quantities of sulfur dioxide on the morning of June 22, 2011. At the time, the volcanic plume extended from the site of the eruption in Eritrea across the border into Ethiopia. This natural-color satellite image was acquired by the Moderate Resolution Imaging Spectroradiometer (MODIS) aboard the Terra satellite. The red outline at the base of the plume indicates an area of exceptional heat, either the site of the eruption or lava pooling in Nabro’s caldera.

Source: http://visibleearth.nasa.gov/view.php?id=51148

Image: 

http://files.lossofgenerality.com/nabro.jpg

edge detected:

http://files.lossofgenerality.com/nabroEDGE.jpg

scanned from left to right and sonified by MetaSynth. Then midi-fied by Melodyne (Poly):

http://files.lossofgenerality.com/multiwaveWLAT1_poly.mid

Instrumentation by Logic Pro.

MetaSynth Configuration:
{
E0
x=1024, y=768
MultSampler=MultiWaves Metalhit
BMP=30
Stereo

Scale=Harmonic Repeated 8 dt 96

}

Scale
! harmonic series, repeated 8 times with detunings

96
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Nabro Sulfuric Moans

A complication of tracks made with LNX_Studio

because life is cruel and people are insane‏

Source: http://earthobservatory.nasa.gov/IOTD/view.php?id=77197&eocn=image&eoci=related_image  

Nunation: 

https://soundcloud.com/dara-o-shayda/nunation-lines 


was used as multisampler to sonify the image of the Lake Fitri in Chad:

http://files.lossofgenerality.com/ISS030-E-059398_lrg.jpg

Processed via Edge Detection filter:
http://files.lossofgenerality.com/nunation_lake_fitriEDGE.jpg

Beautiful Aaaa sounding emergent chorus is heard which was not a part of the original N-sound of the multisampler. This Aaaa sound called Alif in Hebrew and Arabic.

Research:

Ibn Arabi's Kitab Al-Nun
http://www.untiredwithloving.org/kitab_nun.html#ktiab_nun

Ibn Arabi's Kitab Al-Waw
http://www.untiredwithloving.org/kitab_al_waw.html

Alif in Hebrew and Arabic:
https://sites.google.com/site/arabichebrewlexicon/arabic-to-hebrew/list-of-words

Chanter: Ali Jabir 


MetaSynth Configuration:

{
E-1
x=1024, y=512
512 Reverb (increase the intensity after reverb)
BMP=10
Stereo

Scale=Harmonic Repeated 8 dt 96

}

Scale
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96
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Nunation: Endorheic Lake Fitri

Efterklang explores uncanny states of digital reverberation.
A single digit with the nominal 0dbfs value has been used to drive all the factory presets of a t.c. electronic 6000 mk2 system (a state of the art multichannel mastering reverb unit). All of its triggered responses have been meticulously recorded, edited and classified into a database of thousands of audio snippets of pure digital reverberation. Spectra from this database are selectively sustained and juxtaposed in situ to immerse the listener into an ever-reverberant and highly transcendental sonic environment. Efterklang has been realized with the Support of the Visby International Center for Composers.
www.marinoskoutsomichalis.com/efterklang
(image (c) Giorgos Frangiskos)

Efterklang Live @ 6 DOGS

Crystal is nearly 40 minutes long. It has been written for 5.1 DVD as a commission for Diamond Light Source. On the 20th of October it was  performed live in the space of the electron storage ring. 

''Work and process'' 
It is a sound work composed directly from frequencies generated by the electron storage ring, a particle accelerator. The work also uses binaural recording from locations inside Diamond’s experimental hall, storage ring and beamlines. Writing this work, my imagination was sparked from the start and my aim was to write a work of substantial length which reflected both the actual content of the spectrum of the space and also the metaphorical content of the sounds.

The Diamond synchrotron is a rich multi-spectral sonic environment, with a cacophony of sounds generated by machines which hiss pure nitrogen, pump air from vacuum chambers and cool high-powered magnets. There is never one time where any sound is exactly the same. It is a large space, circular; extremely reverberative, vibrating complex tones from the electro-magnetic and mechanical interfaces which generate the electron beam which travels at near the speed of light. The actual physical space of the synchrotron seems to capture pure human intelligence, concentration and the ability to look beyond what is currently possible. It is light, futuristic and like nothing I have ever seen before.

Most of the sounds you hear in this work are the sounds of electron injections into the particle accelerator at certain times of the day. This happens on a regular basis every 10 minutes; it is predicable and ever present. The sonic content of the injections is grainy and dry. I choose to listen to the micro tonalities captured in
the streams of injections developing detailed micro melodies which appear and disappear not unlike the atom injections. The injections are heard in full at the end of the work.  I also took binaural field recordings from points in the synchrotron area and I used a selection of these within the work.


Crystal is designed both for concentrated listening and also for installation. One can walk into the work at any time and capture phrases “injections of a sonic palette” or simply sit down and listen to the whole work. It captures my experience of listening in on the inner workings of the synchrotron. The space itself captures a sense of timelessness, and my aim was to reflect this in the form of the music.
The work was commissioned and published by Diamond Light Source, composed in the Electro-acoustic Studios of the University of Wales Bangor, with support from a research grant from the University of East London. Many thanks to all involved in making the work.
 
Jo Thomas, London October 2011


Crystal Diamond Light Source

Paths II: The Music of Trees collage for the Seattle Art Museum Earth Day celebration.

SAM-PathsII

Sound Art! Deep listening. matthewbay.com

Polar Ice Sonification

matthewbay

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