Vibrations and how they get to your ears.
Noise for airports is a blog about culture, sound, music, and technology.
You can filter the posts to see just things I wrote or made.
Updated (sometimes) by Nick Seaver.
This is a great example of pulling musical content out of non-musical data.
(Although there are other ways to make music with birds and wire)
Andy Woodruff, upon realizing that Ohio has 88 counties and a piano 88 keys, made a flash toy to explore the coincidence. You can play the counties manually one at a time, play an actual song to see which counties light up, play demographic data, play metro areas as chords (!), or play the route between two cities as a string of notes. The notes are assigned in alphabetical order by default, but you can change them to reflect a particular demographic data set.
Andy seems to think that “most of it sounds like crap,” but when you’re playing the route from Akron to Zanesville with notes assigned by percent of the population over 65, I’m not sure that traditional musicality could ever really be your reference point.
Geoff Manaugh on BLDGBLOG takes it his usual step further:
Perhaps the penultimate scene in some unreleased Alfred Hitchcock film, buried in a voice-encrypted vault outside Los Angeles, involves the playing of a sinister piano tune – slow, atonal, and non-repetitive – which our hero soon realizes is, in fact, a coded spy’s map of Ohio: inside the song are directions, forming a county by county guide to how to smuggle nuclear secrets through the Buckeye State…
A new form of paranoia arises, in which you think that all songs are actually maps. Even that burst of bird song that you hear in the alley behind your house at 3am is, you conclude, an unacknowledged spy’s cartography, full of secrets to those who can decode it.
It is an entirely delightful little application (especially the metro chords and route melodies), so you should go and play with it.
(via BLDGBLOG)
More about brain-activity sonification, this time based on MRIs instead of EEGs. I think it’s interesting how the sound of this project is much more compelling than the last one; I wonder how much of this is due to the choice of slow attack/decay synth sounds over a MIDI piano, and how much is due to the type of data they receive.
At least in the first example in the video, the data is quite digital: on and off for various areas of the brain, depending on whether their activity passes a certain threshold. EEG data, being more of a continuous line, you might expect to have a less discrete sound. Just sending MIDI data to a new synth can change a lot!
(via SynthGear)
