Pale Blue Dot

Astronomy & Geophysics, 2015

The nature and Sound; Mantra and Application Technology: The sound awakes the body and intellect and aids it realize consciousness.When a sound wave is produced continuously, from the same source, without any overlapping or interruption, sustaining the frequency and amplitude, it becomes pleasurable music. The vibration leads to a persistence of sound patterns in similar amplitude and wavelength. This entering via the ears makes chemical evolution in the brain, leading to elation. The metal compounds used for making such vibrations are unique. “Gong” an offshoot of the Buddhist traditional sound science is the most popular of the metal components. This book is a key of 1432 mathras and its

BCS Learning & Development, 2019

How electronic music has transformed itself from being a marginal compositional mode of expression for science fiction sound tracks to becoming an integrated sonic art form to enhance emotional and intellectual motivation, as explored by Jóhann Jóhannsson in his sound track for the film, Arrival, is an ongoing process that can lead to a wider view of understanding our place in the universe. Through the use of sonic articulations, the emergent process of scientific exploration in the fields of asteroseismology, nano tunneling microscopes, as well as EM and gravitational fields found in the universe are producing a new sonic tapestry defining the distribution of frequency patterns which form life as we know it. With the sonification and direct recording of cosmic and protein frequencies a new philosophical and cosmological expressions of how consciousness operates in the universe can come about. The spatial domain in which sonic artefacts fill the mind lends insight as to how cognitive spatiality effects sound composition. These new subjective interpretations form a new palette from which an electronic music composer can draw from. By exploring new forms of sonic spatiality a deeper understanding of our cognitive abilities in the universe can come about.

Astronomy & Geophysics, 2005

Eisenstein explain why the Wide-Field Multi-Object Spectrograph will need to look so far into the universe, over such a wide area, in order to map sound waves from the dawn of time. by guest on December 28, 2016 https://astrogeo.oxfordjournals.org/ Downloaded from

Collected Papers of the Academy of Arts, Zbornik Radova, 2017

Our project is about the synthesis of a musical piece, based on the timeline of the Universe. We can understand music through visual and gestural analogies. In a similar way, popular descriptions of scientific concepts also use external metaphors and visual support to help comprehension. We will use music to describe a topic from astrophysics, the birth and evolution of the Universe. We describe the compositional technique used to create the composition “Origin,” referring to recent techniques to derive music from tridimensional images and from gestures, under the light of the mathematical theory of music in the context of a narrative.

2020

Planet Earth is our home. Our bodily lives exist in space. To make sense of this, we have to understand what this space we inhabit is. We really do not live out our daily lives in the space whose shapes, properties, and relationships the ancient science of geometry conceptualized, and which were later put in the formulas of mathematical logic. Recent ecological science has mapped out Nature as a complex of ecosystems in which we, as another biological species evolved and live. The very fact that these have been only so recently mapped out indicates that our perceptions, our emotions, and our actions map the space in which they extend differently. Our planet, its geological surfaces and biological ecosystems are in a continual state of evolution. To exist in space is also to exist in time. Our perceptions, our emotions, our actions do not really lurch across the units seconds, minutes, hours, days, years-which are measured by clock time. I felt. .. that our living moving flesh, itself, was`solid' music-music made fleshy, substantial, corporeal. In some intense, passionate, almost mystical sense, I felt that music, indeed, might be the cure to my problems-or, at least, a key of an indispensable sort. Oliver Sacks, A Leg to Stand On. Our movements are movements in space and also in time. But are not our movements in space commanded by movements in time? Need is such a movement by which the body in the present casts itself into the future. Intentionality is a movement by which the mind in the present casts itself into the future. The movements of our bodies in space have been explained, in philosophy, as purposive actions: the conscious mind envisions a goal, in the future. The conscious intention leaps over time. It also retains the past. It keeps in mind where I have come from, with what resources, what momentum. And this mental movement across time launches (somehow) the movement of the body in space. In Edmund Husserl's phenomenology, this mental movement was named intentionality and taken to be the very essence of consciousness. Consciousness is an act, a movement, that tends toward an object. An object is an objective: the terminus of an "aim" of the mind. This intentional aim or orientation or direction makes something that is there, in the environment, into an objectóan object of attention. It can then become the objective of a bodily movement. Intentionality identifies and idealizesóit posits an identity term for a succession of sensory patterns and maintains that term the same across time. It can invoke that identity term, that "ideal object," in the absence of those sensory patterns with a concept. Concepts are expressed in language. But Jacques Derrida exhibits a constitutive role of words for the formation of concepts. The way the mind envisions what is not there is to take something present as a sign of something absent. What the mind can always make present is a sound one utters.

Zenélő Őskelet, 2015

The music has deep cosmological aspects backing to archaic times. The following study seeks to find answers to why relationships were formed in ancient music culture between cosmology and music. Cosmological contexts of ancient arts may seem atmost poetic for the modern man. The whole knowledge of cosmology and astrology got to the consciousness of human kind by intuitive channels, which was consolidated to practical knowledge by thinking and empiric cognition. Since the ancient works of arts were made in a different form of consciousness, their cosmological aspects cannot be interpretable in our paradigm. The important cosmic pillars that are important to man in his life are the celestial bodies that have been well observed since ancient times, the Moon, the Sun, the planets, the stars, and of course, the Earth from which we look. The basis of the ancient cosmological view is that one sees the celestial bodies as a cosmic manifestation of existence and life. In this celestial world, the Sun, as a source of all life, played a particularly important role, and this privileged status created cult. For man Sun was considered to be as Deity, but also the whole cosmos to be as a living entity. For man, the cosmos was a sacred being. He sensed the phenomena of the outside world, tied to the cosmic aspects. It is based on the consciousness of the spiritual and physical unity of the Universe and its own being. In the archaic times, man had fully experienced his unity with nature and was in close contact with the cosmos. The decisive presence of the Sun and its importance to man in the corresponding periods of the day, expressed in music. In Eastern classical music, this tradition remains. At certain times of the day, only certain pieces are played. Over time, not only music but cosmic relationships have become more and more complex in man's life. In fact, the musical, mood-adjusted adjustment to the times of the day means harmonious tuning of the emotional life of man to the cosmological aspects of the world. In the organic system of relationships, the celestial bodies are obviously connected with the whole being of man, with all the moments of earthly life, as the voice world is related to the human soul, there is also a connection between the cosmos and the sound world. The sound world is a projection of physical reality that directly affects the human soul. This is why perhaps the music is the most direct passage between man's inner spiritual world and the outside world, connecting the inner cosmos with the outer cosmos

ONLINE JOURNAL OF MUSIC SCIENCE, 2023

The article discusses the relationship between sound frequencies, music, and human perception, focusing on the debate surrounding the tuning standard used in music. The paper begins by questioning the metaphysical and religious implications of sound as a creative force. It then delves into the physics of music and human hearing and continues emphasizing the role of frequencies in shaping tonality and timbre. The significance and effects of different tuning standards, particularly comparing 432Hz tuning to the more commonly used 440Hz standard, have also been reviewed. Additionally, the historical context and potential motives behind the adoption of the 440Hz tuning standard, suggesting military and commercial interests, have been investigated. By examining these aspects, the article aims to deepen our understanding of the effects of different musical tunings on human well-being and perception, calling for further research. Ultimately, the article serves as a call to action for further research in the field.