Afonso Arez

Bethany Ciullo

Rachel Feng

Angeline Girard

Jia LI

Ramona Markova

Ríona Ní Bhrolcháin

Willow Yang

CONTENTS

Introduction ................................................................................................................................3

Goals and Objectives ................................................................................................................4

Cymatics .....................................................................................................................................5

History of Cymatics ....................................................................................................................6

Research and Inspirations .......................................................................................................10

About Sound Waves ................................................................................................................12

Fibonacci ..................................................................................................................................13

Methodology ...........................................................................................................................14

Equipment Research ...............................................................................................................17

Additional Audio-Visualisation Ideas .....................................................................................24

Meetings Timeline ...................................................................................................................25

Minutes .....................................................................................................................................26

Planning ....................................................................................................................................31

Documentary Video.................................................................................................................32

Accounts ...................................................................................................................................33

The Team ..................................................................................................................................34

References ................................................................................................................................35

Image References ....................................................................................................................40

Music References .....................................................................................................................40

3Contents Page

t

Seed of Life

The spiral pattern on seed heads, termed the “seed of life” or the “flower of life,” inspired our interface design. These spirals reveal consecutive numbers in the Fibonacci sequence. As the limit of the sequence approaches infinity, the ratio between consecutive numbers approaches Phi, or the Golden Ratio. The core image used in the design is an SVG in the public domain.

The interaction would involve the user ‘clicking’ a button on a tablet-like screen interface with an infrared pen. These buttons would cause a particular frequency to be played and a specific color to be shown through an illuminated water table. Information about the frequency and its relation to the Fibonacci sequence would be displayed in the three centre areas of the interface. Moreover, there are twenty-one frequencies for the user to select, a number belonging to the Fibonacci sequence.

Digital media has become a massive part of our lives both positively and negatively. We seamlessly co-exist with technology without question. Art is no longer constrained to 2D paintings and unreactive sculptures; digital art is changing the present and will shape the future. It is the role of the digital artist to constantly research and discover the undiscovered.

Through a series of lectures, discussions, and practical experiments, we have learned more about the world around us in order to create a new and exciting project both educational and evocative. Our project combines science, art, and technology to visually highlight the perception of sound waves.

Illuminating the Imperceptible“Suited to digital designers, sound designers, animators, acousticians and composers, this project seeks to re-blur the

boundaries between the arts, science and technology and reveal the hidden wonders of natural phenomena. Your task

is to produce a piece of work illuminating

a phenomenon that is imperceptible to human senses. See the Brief and Submissions pages for details”

(House, 2014).

INTRODUCTION

3

Word Count: 8,136

Contents Page

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• To identify a unique, natural phenomenon with an imperceptible quality and highlight it in a creative way

• To explore this quality and consider how it changes one’s appreciation and perspective

• To invoke awe and understanding in a subject not commonly known

• To metaphorically convey the subject

• To develop a deeper understanding of the role of the arts in the context of science and technology

• To highlight the capabilities of working with software and hardware beyond desktop use

• To push technical boundaries

• To further analytical skills and creative thinking

• To present the end product as information realised in a multimedia combination of art, science, and technology

• To prepare an experimental work for public exhibition and presentation

• To work collaboratively under the guidance of a supervisor

GOALS AND OBJECTIVES

5Contents Page

Cymatics is the study of visible sound and vibration. This is usually evident on a vibrated surface of a plate, diaphragm, or membrane. A thin layer of sand or salt particles, paste, or liquid reveals symmetrical patterns in regions of maximum and minimum displacement. Different patterns emerge on the surface depending on the shape of the surface and the frequency that is produced.

The rapid surface vibration is often imperceptible. The image on the top right represents a rigid metal plate attached to a vibrating device. The red and green areas represent the greatest distortion to the surface, and the grey areas in-between, called nodal lines, are where almost no movement is happening.

When sand is placed onto the membrane to show these distortions, it is displaced by the vibrational peaks and troughs, causing it to settle along the nodal lines. The image on the bottom right is a negative of the wave shape moving through the plate as the sand congregates where the wave is absent, thus revealing these striking patterns.

When water is used, the same phenomenon causes its surface to displace, and finer patterns occur if the frequency is increased.

CYMATICS

http://www.cymatics.org/

http://www.cymatics.org/

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Leonardo Da VinciOne of the first to notice the phenomenon of cymatics was Leonardo Da Vinci. While Da Vinci was best known for his art, his controversial studies of science, specifically dealing with natural phenomena and human anatomy, far exceeded those of the time. He observed cymatics by noticing that dust on a wooden table had forms shapes when vibrated.

‘‘I say then that when a table is struck in different places the dust that is upon it is reduced to various shapes of mounds and tiny hillocks. The dust descends from the hypotenuse of these hillocks, enters beneath their base and raises itself again around the axis of the point of the hillock.’

– (Da Vinci https://cymascope.com/cyma_research/history.html)

Galileo GalileiGalileo was another to notice the formation of pattern on a vibrating surface while he was experimenting with plates and chisels in 1632.

‘’....scraping a brass plate with a sharp iron chisel in order to remove some spots from it and running the chisel rather rapidly over it, I once or twice, during many strokes, heard the plate emit a rather strong and clear whistling sound: on looking at the plate more carefully I noticed a long row of fine streaks parallel and equidistant from one another..”

– (Galileo, , http://www.janmeinema.com/cymatics/who_was_hans_jenny.

html)

HISTORY OF CYMATICS

Galileo Galilei http://www.newscientist.com/blogs/culturelab/2011/10/25/galileo.jpg

Leonardo Da Vinci http://www.leonardo.net/

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Hans Jenny A Swiss medical doctor and scientist who studied visual sound, Hans Jenny, coined the term ‘cymatics.’ The word stems from the Greek ‘kyma’ meaning ‘wave’ to describe the periodic effects that sound and vibration have on matter.

Hans Jenny created many images using tone generators and crystal oscillators connected to metal plates, which enabled him to precisely control the frequency and amplitude of the signal. This enabled him to invent the ‘Tonoscope,’ using a human voice to vibrate the plates directly. The advantage of crystal oscillators is to determine precise frequency and amplitude. This was beneficial in that it allowed Jenny to research a continuous sequence of events with the possibility of changing the frequency, the amplitude, or both.

He placed sand, iron filings, or liquid on the vibrating plates to produce dynamic and geometric shapes and patterns. Jenny was able to successfully repeat these experiments multiple times. He discovered a resemblance between the shapes and patterns in nature and those in his experiments.

These studies suggested that cymatics and sound had a part in the creation of the universe. Jenny believed that biological evolution was a result of vibrations, a driving force that could create everything from the shape of a mountain range to the petals on a flower.

“The more one studies these things, the more one realizes that sound is the creative principle. It must be regarded as primordial. No single phenomenal category can be claimed as the aboriginal principle. We cannot say, in the beginning was numbers or in the beginning was symmetry, etc..... They are not themselves the creative power. This power is inherent in tone, in sound.”

– (Jenny, http://www.janmeinema.com/cymatics/who_was_hans_jenny.

html)

HISTORY OF CYMATICS

Hans Jenny http://classes.dma.ucla.edu/Winter13/159C/wordpress/wp-content/uploads/2013/03/hans-jenny.jpg

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Robert HookeHooke was an influential and experimental scientist of the 17th century whose inventions include the iris diaphragm in cameras, the universal joint in automobiles, and the balance wheel in watches. He also experimented with amplifications through shape and structure.

On the 8th July, 1860, Hooke experimented with flour on top of a glass plate. While bowing the plate, he noticed the flour forming patterns. Ernst Chladni later continued with this research. Hooke also influenced Michael Faraday into researching about the lines of force in magnetic and electrical experiments.

HISTORY OF CYMATICS

http://rogerbourland.com/2006/02/09/cymatics-and-chladni-patterns/

http://runeberg.org/huru/0081.html

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Ernst ChladniErnst Chladni was a physicist, musician, and instrument maker from the 16th to the early 17th century, well known for his work in acoustics. Chladni invented a method for visualising the patterns of vibrations on mechanical surfaces, which he expanded from work conducted by Robert Hooke.

Acoustic experiments were conducted on iron plates, and vibrations were created by stroking the plates with a violin bow. Fine sand was sprinkled on the plates, and when vibrated, geometric shapes and patterns would form along the nodal lines. The plate has an indefinite number of vibrational modes, each differing according to the change in frequency and each producing a unique pattern. The patterns, Chladni’s figures, increase in complexity with the frequency of vibrations and change depending on the shape of the plate itself. Chladni discovered many different pattern combinations of which he published in his book “Die Akustic.”

Furthermore, he successfully created a formula to calculate the output patterns. Cymatics has now been used for both serious research and education. Contemporary scientists are currently researching the behaviour of vibrations. Chladni’s work methods can be applied in the process of making musical instruments: metal filings are sprinkled onto a wooden surface, and a vibration is sent through the material to check for the symmetry of the pattern. The more symmetrical, the better the sound produced by the instrument.

HISTORY OF CYMATICS

http://www.hps.cam.ac.uk/whipple/explore/acoustics/ernstchladni/chladniplates/

http://www.hps.cam.ac.uk/whipple/explore/acoustics/ernstchladni/

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Initial ConceptsThe following concepts were proposed on Monday, 27 January 2014:

AfonsoConcept 1: Natural Disasters

Visualise a website map of earthquakes and seismic waves from real-time data.

Concept 2: What Happens While You Sleep?

Show the brain while sleeping through an interactive installation.

AngelineConcept 1: Sonic Mapping

Map one place directly onto another place sonically.

Concept 2: What is the Pulse of a City?

Abstract a city’s “pulse” based on sound data.

BethanyConcept 1: See My Voice

Visualise the frequencies present in an individual’s speech via real-time cymatic installation or website.

Concept 2: Spacematic

Interpret the cymatics of space sounds in an interactive, visual installation or on a website.

Jia LIConcept 1: People and Their Imperceptible Networks

Describe imperceptible relationships between people, and display the social network of the world.

Concept 2: Colour and Mood

Use multimedia to highlight sophisticated relationships between colour and mood visibly and tangibly.

RachelConcept 1: Static and Sparks

Generate static electricity with balloons to power output sounds and visuals.

Concept 2: His Dark Materials

Visualise dark matter and cosmic dust on a large screen that reacts to the presence of people.

RamonaConcept 1: What is it Made of?

Discover the geographic origins of product ingredients and visualize the information on a map.

Concept 2: What Does a ‘Meow’ Look Like?

Produce images of various sounds using cymatics.

RíonaConcept 1: Free Floating

Visualise cells (Paramecia and Amoeba) in water that are not visible to the eye.

Concept 2: Bioimpedence

Display emotional responses to different environments by monitoring heart rate or blood preaure, using a pulse oximeter or a heart rate monitor.

WillowConcept 1: Can You Feel My Pain?

Visualise pain acoustically or through geometric images.

Concept 2: Do We Feel the Same?

Test emotional responses to identical situations by measuring heart rate and blood pressure.

RESEARCH AND INSPIRATIONS

11Contents Page

Main Resources

RESEARCH AND INSPIRATIONS

Click on each of the links below to study our main sources of information.

Click on each of the links below to study our main sources of inspiration.

Similar Work

Cymatics.org

Water Experiments

Cymatic Music

Cymatics.co.uk

TED Talk

Sonic Sculpture

Cymatica

Tonoscope

Brain Waves

CymaticMusic.co.uk

Chladni Patterns

Fibonacci

Cymatic Amplifier

Colour Sound

Astrophysics

12Contents Page

WavesWaves are periodic (regular and repeating) disturbances that transport energy, as opposed to matter, through a medium. This sinusoidal vibration, based on the graph y = sin(x) where y is position and x is time, follows a pattern of crests and troughs with an intermediary equilibrium or resting position in-between.

The period of a wave is equal to the mathematical reciprocal of its frequency (period = 1 / frequency, measured in seconds per cycle). This is the time for the wave to complete a cycle of crests and troughs.

The frequency of a wave is equal to the mathematical reciprocal of its period (frequency = 1 / period, measured in cycles per second). This is the number of cycles completed per second.

Sound WavesSound can be categorised as three different types of waves: mechanical, longitudinal, and pressure.

A mechanical wave disturbs a medium through particle-to-particle interaction. The motion of particle vibration in a longitudinal wave is parallel to the direction in which energy is being transported. Lastly, a pressure wave consists of the repetition of compressions (high-pressure areas or a wave’s crest) and rarefactions (low-pressure areas or a wave’s trough) of a pressure wave through a medium in a pattern.

Wavelength is the distance travelled by the wave over one period, or one complete cycle. It is measured from compression to compression, or rarefaction to rarefaction. The period of a sound wave is the time between successive compressions or rarefactions.

The frequency of a sound wave is measured in Hertz with one Hertz equal to one vibration per second. High frequencies have small periods and short wavelengths whilst low frequencies have large periods and long wavelengths. Pitch is our perception or sensation of frequency.

“The frequency of a wave refers to how often the particles of the medium vibrate when a wave passes through the medium. The frequency of a wave is measured as the number of complete back-and-forth vibrations of a particle of the medium per unit of time” (Henderson, 2014).

Humans can hear anything from 20 Hz to 20,000 Hz. Anything below this range is called infrasound, and anything above this range is called ultrasound.

Concept ConnectionOur project is based on a trinity of waves.

Sound waves will create water waves illuminated by light/electromagnetic waves. Websites to create sine waves include Online Tone Generator and Sweep Tone Generator.

ABOUT SOUND WAVES

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Sequence and NatureThe Fibonacci Numbers consist of the infinite sequence of numbers where Fn = Fn-1 + Fn-2. Ratios between consecutive Fibonacci Numbers approach Phi, 1.618, the Golden Ratio (Meisner, 2012). This ratio is pervasive in nature through seed heads, pinecone spirals, pineapples, cauliflower, growth points of flowers and branches, honeybee colonies, and human anatomy, for instance (Lamb, 2008).

A432 MusicAlthough it is common practice today to tune to A440, classical composers used a tuning system based on A432, that is, tuning the pitch A above middle C to 432 Hz. After performing cymatic experiments to determine which frequencies yield the strongest results, we created the following table of musical frequencies calculated from Fibonacci Ratios when tuning to A432 (Meisner, 2012). Colours are mapped to specific musical notes (“Colours and their Sound and Frequencies,” 2014).

FIBONACCI

Frequencies Fibonacci Ratio(s) Note Colour81 Hz 3/8 E Violet

86.4 Hz 2/5 F Invisible Red

129.6 Hz 3/5 C Green

135 Hz 5/8 C# Green-Blue

144 Hz 2/3 D Blue

162 (Phi) Hz 3/8 E Violet

172.8 Hz 2/5 F Invisible Red

216 Hz 1/1 A Orange-Yellow

259.2 Hz 3/5 C Green

270 Hz 5/8 C# Green-Blue

288 Hz 2/3 D Blue

324 Hz 3/2, 3/8 E Violet

345.6 Hz 2/5, 8/5 F Invisible Red

360 Hz 5/3 F# Red

432 Hz 1/1 A Orange-Yellow

518.4 Hz 3/5 C Green

540 Hz 5/2, 5/8 C# Green-Blue

576 Hz 2/3, 8/3 D Blue

648 Hz 3/2 E Violet

691.2 Hz 8/5 F Invisible Red

720 Hz 5/3 F# Red

Note. Adapted from “Music and the Fibonacci Series and Phi,” by G. Meisner, 2012, Phi 1.618 The Golden Number, and adapted from “Colours and their Sound and Frequencies,” Altered States.

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METHODOLOGY

Each member of the group brainstormed two concepts. These ideas were discussed, altered, and merged into our final idea of cymatics. It was proposed that we visualise natural disasters by using the frequencies to illuminate the scale of the occurrence.

Our first experiments were with sand and salt. The studio managers and a lecturer advised that gel speakers with a drumhead would be optimal. We then purchased a second-hand drumhead and tested the gel speakers underneath. Sand proved too heavy and did not yield many patterns. Salt, which was lighter, produced more defined shapes.

The next experiments were with water. A thin metal baking tray was filled with water, and gel speakers were stuck to the bottom. This produced some very pronounced crystallised effects. LED lights could illuminate the water patterns through a clear container. Plastic did not adequately transmit the vibrations, and acrylic proved best.

Our initial idea was to create an installation with three tables and a projection screen. Each table would exhibit a different set of sounds; city sounds, natural sounds such as wind/waves, and voice.

After further discussion, we refined our idea to concentrate on using water as the primary medium to emphasise natural wave phenomena. Sound waves would produce water waves that in turn would be illuminated by electromagnetic waves. The set of frequencies would be based on Fibonacci ratios between musical notes. Colours would correspond to specific frequencies.

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METHODOLOGY

We had decided to use a single platform, a shallow pool of water with speakers underneath, and a interactive screen device attached to one end, seen below. The interactive screen would display patterns based on Fibonacci geometry, which would produce frequencies based on Fibonacci ratios. The installation would be about table height in order for us to place equipment, such as speakers, below the container and so users could easily see the patterns created as they walk around the installation. Care will have to be taken so that all equipment will be secure and safe from any water spillages that may occur with an audience interacting with vibrating water.

The interactive screen would be placed at one end at the same height, allowing for two members of the audience to interact with it. A computer, mirror and projector would be placed under the screen. We will have to ensure that these pieces of equipment are accessible to us but also out of the way of any water.

After some research, it was found that acquiring an acrylic container large enough would be expensive. It was decided that three 40cm containers would be used alongside each other, rather than one large container.

16Contents Page

METHODOLOGY

Image ideas for the interactive screenWe also discussed the connection between the patterns displayed in the water and how the user would interact with the frequencies using the interactive display. We wanted to have visuals that would attract users of all ages and also consist of a Fibonacci geometric pattern. These visuals on the screen would then correspond with frequencies played. The examples shown below from, Patterns in Nature (Stephens, 1977), illustrate some less regular geometric branching patterns found in nature, however this would not appeal greatly to a younger audience.

Upon further discussion, we considered using a snowflake as a visual for the screen as this produced similar effects to what we saw in the water, almost in a crystalised form. However, the spiral of a seed head is the most favourable connection between our interface and the water installation as it reveals consecutive numbers in the Fibonacci sequence. Users would press on certain points which would cause a particular frequency to be played and a specific colour to be shone through the illuminated water table.

Stephens, P (1977). Patterns in Nature. P. 45

Stephens, P (1977). Patterns in Nature. P. 59

Stephens, P (1977). Patterns in Nature. P. 46

17Contents Page

Acrylic trays

A quick price comparison:

Additional links for the raw material:

EQUIPMENT RESEARCH

http://www.containerstore.com/shop/bath/cosmeticsOrganizers/countertop?productId=10036225

400MM X 100MM ACRYLIC TRAY

3mm x 400mm x 400mm x 100mm CLEAR

http://www.united-plastics.co.uk/display-tubs-bins-trays-acrylic-tray-c-67_68.

£7.99

400MM X 50MM ACRYLIC TRAY

3MM, 400MM X 400MM X 50MM, CLEAR

http://www.united-plastics.co.uk/display-tubs-bins-trays-acrylic-tray-c-67_68.

£6.66

40cm – Square Clear Acrylic Tray

3mm x 50mm x 400mm x 400mm CLEAR

http://retailacrylics.co.uk/shop/article_AT400/40cm

£14.39

4mm x 600mm x 400mm

http://www.ebay.co.uk/

£14.46

5mm x 600mm x 400mm

http://www.ebay.co.uk/

£16.85

6mm x 600mm x 600mmhttp://www.ebay.co.uk/itm/SQUARE-CUT-CLEAR-ACRLYIC-SHEET-BLOCK-1MM-TO-50MM-THICK-50MM-TO-600MM-SQUARES-/201034916588?pt=LH_DefaultDomain_3&var=&hash=item2ece9d62ec

£37.87

5mm x 594mm x 841mm (A1)http://www.ebay.co.uk/itm/Clear-Plastic-Acrylic-Perspex-Sheets-Highly-Polished-and-Transparent-All-Sizes-/140914221969?pt=UK_Crafts_FramingMatting_EH&var=&hash=item20cf246391

£26.95

18Contents Page

EQUIPMENT RESEARCH

1 http://www.alexandravonfurstenberg.com/_blog/A_Von_Fab_Life/post/WHAT_IS_ACRYLIC_IS_IT_LUCITE,_PLEXIGLASS_OR_JUST_PLASTIC/

Acrylic is a clear high grade plastic made primarily from petroleum. Yes, it’s a form of plastic, but just as there are different grades of metals or woods, there are different grades of plastic. Particle board is technically wood, but then so is solid cherry or walnut, and aluminum is a metal, but then again so is platinum or gold. The misconceptions about acrylic, because it is a form of plastic, is that it either yellows or scratches easily. Cheap plastic will yellow in the sun, but high quality cell cast acrylic will not, and unlike glass or lacquers, scratches in acrylic can be buffed out.

An alternative to using acrylic might be using glass tubes that are more frequent in retail and easier to handle but after taking into consideration all the pros and cons mentioned in the table below we decided that acrylic tub would work better both for light and sound transition through the material.

Acrylic is similar to glass, but acrylic has characteristics that make it superior to glass in many ways. First off, it is many times stronger than glass, more impact resistant, and safer. In fact, a 32mm thick piece of acrylic (just over 1”) is actually bullet proof. Acrylic is also only 50% the weight of glass, can be sawed allowing for more design possibilities and it can be shaped as well as glued seamlessly together. Last but not least, as mentioned before, scratches in acrylic can be buffed out where as in glass it cannot.

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EQUIPMENT RESEARCH

Glass Acrylic Scratching Glass is very difficult to scratch. Scratching glass usually requires a relatively

hard material and a considerably amount of pressure. You can scratch glass if you take a piece of uncoated tub gravel or a rock and rub it against the glass, or if you take a piece of metal and deliberately scratch the glass. However this is unlikely.

Acrylic is highly stretchable. Often, despite the best efforts of manufacturers and shippers, the packing materials used to pack acrylic tubs will scratch the tub! The tub can be scratched by a person brushing it with their clothing, jewelry, purse, back pack, or bag when casually walking past it in the store, and the tub can very easily be scratched when people are moving, loading, or unloading it. Of course, acrylic is also easier to repair when it is scratched. Acrylic polishing kits are available in many places, and these can be used to remove scratches on the outside of the tub.

Weight Glass is denser and therefore heavier than acrylic. A glass tub will often weigh 4-10 times as much as an acrylic tub of the same volume.

Acrylic tubs are lighter than glass tubs. This means that if you have to move an acrylic tub for some reason, it will be much easier to do so once the water is all out of it than it will be for its glass counterpart. This also means that an acrylic tub will be less strain on the structure that is supporting it than a glass tub will.

Breaking and Cracking

A sharp impact will crack - or in extreme cases, shatter - a glass tub, or at least one of its sides. However, this is not an every day occurrence. The force required to break a glass tub is still significant, and is almost always the result of otherwise inappropriate behavior.

Though a VERY sharp impact will crack or shatter a piece of acrylic, the amount of force needed for this damage is far greater than it is with a glass tub. On the other hand, almost any impact to an acrylic tub will leave a scratch or mark, even those that would not have marked a glass tub.

Shape Glass is relatively rigid and brittle. Because of this, it is difficult to make tubs from glass that are not rectangular in shape. Also, when glass is curved, it has a tendency to bend light, making things on the other side of the curved glass appear larger or smaller than they really are.

Acrylic is easily molded and formed into almost any shape that can be described - and some that can't. Acrylic also has less of a tendency to distort things that are behind a curve. Because of these two factors, acrylic tubs are available in a very large number of shapes - not just rectangular.

Support and Rigidity

Glass can support considerably more than its own weight over distances. Because of this, glass tubs can be kept on stands with an open or incomplete top with little or no risk. However, the tub stand still needs to be level and the stand still needs to be strong enough to support the weight of the tub.

Also, because of this rigidity, glass tubs require less structural support at the top to keep the tub from flexing or splitting its seams under the weight of the water. Though some bowing of a tub is normal, excessive bowing can lead to split seams or fractured glass.

Acrylic tubs require a stand that will support the entire bottom of the tub, or else the bottom of the tub may pull away from the seams under the weight of the water. This is not true in acrylic tubs that have a substantially thicker bottom than would appear necessary.

Also, acrylic tubs require much more support across the top of the tub to keep the acrylic from bowing apart and either splitting seams or spilling water.

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EQUIPMENT RESEARCH

Glass Acrylic Strength The materials required to build a glass tub will be thicker than those required

to build an acrylic tub. Though tempered glass does not need to be as thick as non-tempered glass for the same size of tub, the tempered glass will still be thicker than the acrylic necessarily would be for the same tub size. Also tempered glass cannot be drilled to accommodate any system designed to use on overflow.

Acrylic does not need to be as thick to support the same water volume as glass does, and any acrylic tub can be drilled to accommodate an overflow system.

Refraction of Light

Glass has a different index of refraction than water. This means the as light passes through the air, then the glass, then the water to bounce off an object and get reflected back through the water, then the glass, then the air, the light is bent four times. Each time the light is bent, the image is distorted. Colors are not quite true, position is not quite accurate, and size can be distorted slightly. The thicker the glass is, the more pronounced these errors become. This means that in tubs with particularly thick walls, light can be significantly distorted.

Acrylic has nearly the same index of refraction as water. This means that when you see an object in an acrylic tub, the light has only be bent once or twice. Because of this, the only distortion you are likely to see is that the object is slightly misplaced, but the size and color are true.

Clarity Glass maintains its clarity over time. The glass in a new tub will match that in an old tub, and if you have to replace a pane of glass in a used tub, the correction you will notice is that there are fewer scratches in the new glass.

Many types of acrylic will yellow with age, particularly if they are kept under a full spectrum light or are exposed to direct sunlight. This is a normal chemical reaction in the materials that the acrylic is made from. Though this is getting much better, this is still a possibility.

Cost Glass is easier to ship and requires fewer specialized tools to work with, so glass tubs tend to be less expensive than acrylic tubs.

Acrylic tubs tend to be more expensive than glass tubs. This is not necessarily because the acrylic is better than the glass, but more often is due to the shipping costs. In many cases it will cost less to make the acrylic tub, but after the first three or four have been too severely scratched in shipping to be usable.

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EQUIPMENT RESEARCH

LED Strips: TYPES, CHARACTERISTICS, PRICESTypes and characteristicsThe two most common types of LED strips include the 3528 and the 5050. These names refer to the dimensions of the chips. For instance, there are 3.5mm x 2.8mm chips on a 3528 LED strip, and there are 5.0mm x 5.0mm chips on a 5050 LED strip.

Although 3528 LED strips are more cost-effective, they are considered better for single colour applications. For the purposes of this project, 5050 LED strips should be used.

5050 LED strips are also known as tri-chips since each chip contains three chips in one housing. The combination of three chips allows for better colour quality and a wider range of colour variations. Moreover, a 5050 strip can output up to three times the light of a 3528 strip, is slightly more expensive, and produces more heat.

The next pages detail supplementary information regarding the LED strips, such as price comparisons and links demonstrating use cases.

Useful linksHow to cut and connect 5050 LED stripshttp://www.youtube.com/watch?v=VXVzkjCkAy4

http://www.youtube.com/watch?v=qtlRiVv8kUs

How to solder 5050 LED stripshttp://www.youtube.com/watch?v=OLQs7S_Ou8U

LED strip - the packagehttp://www.youtube.com/watch?v=23YipmOOIFw

LED strip - arduinohttp://interface.khm.de/index.php/lab-log/digital-addressable-led-strip-arduino/

3528 LED strips

5050 LED strips

22Contents Page

PRICE COMPARISONLED Flex Strip light | Non-waterproof

24key – 24 buttons remote

48key – 48 buttons remote

2A – 12V 2A power supply

5A – 12V 2A power supply

LED Flex Strip light | Waterproof

24key – 24 buttons remote

48key – 48 buttons remote

2A – 12V 2A power supply

5A – 12V 2A power supply

Type Length INumber of LEDs Colour Price / pack5050 5m 60/meter RGB Strip - 6.82 STP+24key - 8,39 STP+24key+5A - 12,38 STP+48key - 8,88 STP+48key+5A - 12,88

3528 5m 60/meter RGB STRIP - 4.22 STP+24key - 5,78 STP+24key+2A - 7,91 STP+48key - 6,33 STP+48key+2A - 8,46

Type Length INumber of LEDs Colour Price / pack5050 5m 60/meter RGB STP+24key+5A- 18.19

3528 5m 60/meter RGB STRIP - 6.28 STP+24key - 7.84 STP+24key+2A - 9.99 STP+48key - 8.39 STP+48key+2A - 10.58

EQUIPMENT RESEARCH

23Contents Page

EQUIPMENT RESEARCH

Interactive Table CharacteristicsThe TableMaking use of SmoothBoard, a newer version of the Wiimote Whiteboard Software developed by Johnny Chang Lee, we plan on developing a DIY interactive table. This table combined with an IR(infrared) pen was found to be the most cost effective solution for our needs given that a touchscreen display of the same size would be out of our budget.

The use of this pen will also be more adaptable to different users in different age groups; given the fact that the pen has a certain range, the user won’t necessarily need to touch the surface therefore not needing to bend over.

This software also supports the use of two IR pens allowing two users to interact with it at the same time.

MaterialsOne of the reasons why this solution was chosen has to do with the fact that the materials to be used can either be provided by the University or are not expensive and within our budget.

For the table we will need:

• projector

• wii remote

• mirror

• translucent surface

• SmoothBoard software (open source)

• bluetooth stack

For the IR pen (to be used with this table) we will need:

- 2 infrared LED’s

- 2 LED holders

- 2 momentary pushbuttons

- 2 batteries

- 2 batteries holders

- soldering kit

How toThe way it all works is very simple. The projector will be connected to a laptop with the interface we develop, this image will then be projected onto the mirror so that this reflects such image and enable us to see it just like if we were watching it on a screen. Right next to the projector there will be the wii remote that will track the IR on the pen and communicate that information via bluetooth to the computer. The pen works in a very similar way to the computer mouse, the pushbutton is equivalent to the mouse’s left button.

IntegrationTwo stands of different sizes will be built, a bigger and a smaller one. The smaller stand, for the Interactive Table, will have a length equivalent to the bigger one’s width so that these can be matched.

Stand number two, the bigger one, will be necessary for the containers along with the speakers and LED strips.

Useful linksThe tablehttp://www.youtube.com/watch?v=6XDQInCxyTU

How does the table workhttp://www.youtube.com/watch?v=atwX1XRIALA

The Softwarehttp://www.smoothboard.net/wiimote/downloads

How to make an IR penhttp://www.youtube.com/watch?v=czs2oJZY7hU

MaxAdditionally, we’ve found an external Max patch free to use in combination with the Wii Remote, and there are multiple ways to connect Max/MSP with an arduino setup.

http://www.iamas.ac.jp/~aka/max/#aka_wiiremote

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Cyma ConnectorsWhether we want to focus on using an iPad, the Mira app is an option for mirroring a desktop using MaxMSP and a designated interactive screen. A free app called Fantastick is another good option.

https://itunes.apple.com/app/fantastick/id302266079?mt=8

Alternately, for Android devices, Matt Benetan has come up with Max/MSP Control.

http://www.appbrain.com/app/max-msp-control/com.maxmspcontrol

Whether we want to focus on color proportions or saturation rather than employ a straight audio-frequencies-mapped-to-wavelengths-of-light conversion, remains to be discussed. Acoustic waves are pressure-based and longitudinal (meaning they travel parallel to the direction they’re generated in) whereas light (color) waves are electromagnetic and transverse (meaning they’re based on fluctuations perpendicular to the direction they’re generated in) – so, three variables are needed to describe color, and only one for sound. An innovative method besides pitch-to-RGB scale mapping could be pitch-to-HSV scale mapping using Fibonacci-based (Fermat’s) spirals as a visual. Additional meaningful relationships between frequency and colour could be:

• mapping frequencies/notes onto a spiral and using an HSV colour wheel to find similar proportions between colours (there is also a jitter object that maps HSV to RGB as well)

• pitch to brightness/value – we could map notes to hue and then consider shades as different intervals/octaves

• We may also want to look more into irrationality/even spacing in nature, since the actual number (phi) described in the Fibonacci sequence is an irrational number

ADDITIONAL AUDIO-VISUALISATION IDEAS

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MEETINGS TIMELINE

Week 1• Brainstorm:

• Meet up for the first time

• Share ideas and brainstorm

• Form two concepts: Cymatics & Sentiments

Week 2• Project Theme:

• Decide to focus on Cymatics

• Intend to build an interactive installation

• Aim to educate audiences about the world by visualizing sound waves

Week 4 • Experiments with water:

• Observe the patterns of water and finally decided to use water instead of salt as a medium

• Intend to create an illuminated waterpool, constructed with speakers, light sources and a projection screen.

Week 3• Experiments with Sand and Salt:

• Observe the patterns of sand and salt and salt performs better than sand

• Test best frequencies, ranging from 300 to 700Hz

• Temporarily decide to use natural disaster sounds

Week 5• Experiment with Light:

• Experiment with Light

• Test the water in a baking tray and we want to shine LED light onto the water.

• Look for clear containers that would be thin enough to vibrate and produce patterns.

• Provide a interactive screen for users to choose the frequencies they want and then see the result of it.

Week 6• Decision on the size of the container

to hold the water (3 x 40cm)

• Decision made on the image to be used on the interactive screen and how information will be displayed to the user

• Connection concept and materials

Ongoing...

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22 January 2014This marks the first meeting with our supervisor, Dave, and the rest of our group. Group members introduced themselves, explained their backgrounds, and described their interests in pursuing this project. Dave then imparted logistical information regarding the blog, documentation, accountancy, and submissions. We brainstormed initial thoughts on presentation, such as a website, an installation, or a touch screen, as well as ideas on significance, such as contriving an idea both creative and educational to re-contextualise a natural phenomenon. Finally, Willow and Jia LI offered to document our process through photography and videography, and Ramona was appointed project manager.

27 January 2014For today, we each brainstormed and researched two possible concepts for the final project. After discussion, we consolidated our ideas into two main strands, cymatics and sentiments. The cymatics concept consisted of creating a video database of cymatic plate footage for sounds in predetermined categories, such as voice, city, space, and natural disaster. The user could access a grid of videos via website or interactive screen installation. The sentiments concept consisted of using sensors as part of an interactive installation to capture

biological sensations and visualising the outcome.

MINUTES

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29 January 2014After discovering the projects from two other groups centre on emotions, we decided to pursue a project focusing on Cymatics. Our final piece will be an installation that could include a database website, an interactive screen, and/or multiple cymatic trays. Our installation could comprise both interactive aspects (i.e., interactive screen) and static aspects (i.e., frequency analysis map).

The project’s goal will be to educate an audience about the everyday world by providing an indirect view of sound waves. Through building a new type of sensory organ based on synaesthesia, we will be able to demonstrate what our universe might be perceived like had human senses evolved differently.

Our data source will consist of sound waves and perhaps the invisible spectrum around us (i.e., radio and television). We could create a database of recordings or concentrate on only several.

A possible interaction could consist of the user choosing a sound from a database and retrieving associated information and visualisations. In order for cymatics to work, a continuous sound needs to sweep from frequency A to frequency B for the patterns to show. Other opportunities include abstracting the obvious by sound manipulation, Max particle visualisation, and videotaping patterns. Furthermore, we could transpose and switch the frequency ranges between sound and colour, synaesthetic illustrations of sight via hearing and hearing via sight.

Our final installation presentation could be exhibited at InSpace or another location. There would be an opportunity for a group member to focus on marketing to attract an audience.

For the first submission, we need to streamline our idea, what sources we will require, how we will present it, a proof of concept displaying our projected success (for example, a series of cymatic stills or a crude Max particle system), and a summary of our research thus far.

For next week, we will conduct further research to refine our concept, have a small subgroup gather materials for our experiments (11am Friday 31/1), and experiment with cymatics (10am Monday 3/2 in the Atrium). After we reconvene next Wednesday, we will be able to set deadlines and delegations.

MINUTES

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3 February 2014For the cymatics experiment, we sprinkled sand and salt over a plastic drumhead. Salt worked better than sand at producing patterns. We used gel and cone speakers to pass frequencies through the drumhead. The best frequency range was determined to be 260 through 720 Hz, with the prime range being 300 through 700 Hz. The best sounds included sine waves, sine sweeps, sirens and amplified wind. High frequencies did not yield the required patterns.

Further honing of the final project idea occurred as we entertained using a drum kit as a metaphor for a storm. We also considered recording our own natural disaster sounds, such as sirens, earthquakes, volcanic eruptions, wind, thunder, the sea, and voices. Videos of cymatic patterns from these sounds could support a story arc or be slowed down. The audience could observe or interact with three to four interactive screens, and three cymascopes on stands could be used for demonstration, a user’s smartphone, and a user’s voice through a microphone. Elements would include sound processing, cymascope construction, videography, installation, and documentation.

5 February 2014The idea for the final project was more firmly consolidated and established. Instead of focusing on natural disasters, we finally decided to create an illuminated water pool. Using water instead of salt as a medium would yield a more controllable and attractive result. Moreover, the sounds would comprise pure sine waves based on the Fibonacci sequence superimposed over a musical scale. This device could be constructed with speakers, a shallow basin, a light source, and perhaps a projection screen. The audience could play a keyboard programmed with the frequencies in our scale. For each frequency, the water would vibrate, and a correspondingly coloured light would illuminate the cymatic patterns. To document the patterns, we would film the vibrations and slow down the footage.

In addition, Dave mentioned the notion of our presenting at the International Science Festival in Summerhall for two weeks starting the weekend of 5 April 2014.

MINUTES

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10 February 2014The group experimented with using water as a medium. Bethany researched frequencies based off of Fibonacci ratios when tuning to A =432 Hz. The frequencies 259.2, 270, 288, 324, 345.6, 360, 432, 518.4, 540, 576, 720 produced strong patterns while the frequencies 648 and 691.2 did not. Using an online piano keyboard, the vibrations appear strongest in the range of C3 through A4. Chords also generated interesting results and could be incorporated in our final design. Max could program a MIDI keyboard with the appropriate frequencies and corresponding colours for audience interaction. Materials required include a frequency generator, a cymatic device, Max, a projector or display, speakers, a microphone, and video and photography cameras. Furthermore, we decided to create a digital brochure about the project for the first submission due 28 February. Bethany will provide an overview of sound waves in addition to a summary of the minutes, research, resources, and similar work. Ramona and Afonso will detail the materials needed, sources, and procedure. Rachel and Ríona will streamline the proof of concept and design the brochure. Willow and Jia LI will edit together the pictures and video documentation thus far into a timeline of our conceptual evolution. Angeline will perform technical research into Max for visualisation and interaction.

12 February 2014The Fibonacci Sequence is the natural phenomenon that we will be our focus. Sound waves will be passed through the medium of water, and the crystallised, geometric patterns will be illuminated with lights. For the first submission, an interactive brochure, we need to solidify our proof of concept including why and what we are doing, what we need, how it will work, and intended outcomes.Our materials will include one large, shallow plastic bin, speakers, lights, and an input method. As of now, only one speaker is available, but there is the opportunity for one or two more to be bought for the studio. LEDs or lamps would shine from below the water and the clear plastic, and the light would change according to frequencies based on Fibonacci ratios. A to-bedetermined method would diffuse the light under the ripples. Further considerations include electronic communication to the lights and speakers, the number and location of speakers, and the input method (for instance, an iPad app or microcontrollers in the shape of a Golden Ratio spiral). A conceptual extension into using mathematically harmonious patterns in nature within our working range of frequencies is possible. The user could choose the sequence or pattern. The next steps consist of experimenting with lights and materials (plastic and acrylic). Our next meeting is 14 February at 11:00, there are no meetings during Innovation Learning Week (nextweek), and we will meet next with our supervisor on 26 February at 14:00.

MINUTES

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14 February 2014Test 1 consisted of using a Wowee speaker to send Fibonacci frequencies from a computer through a plastic Tupperware container. Unfortunately, the plastic did not create patterns. Test 2 used an acrylic recycling bin with a thin metal bottom. Although faint patterns were produced at louder amplitudes, they were not perceptible enough. Test 3 used an acrylic jewelry tray, and prominent patterns were produced. The acrylic has proven to be the strongest transmitter of sound waves. Moreover, containers constructed from one material seem to produce the best results. We also shone an LED light from the side to illuminate the patterns. After our experimentation, we have strengthened our concept for the final submission. One clear, acrylic tray will be filled with water and placed on the back of a table draped with white. Four gel speakers will be attached to the bottom, and a strip of LED lights will be wrapped around the sides. The front of the table will be an interactive screen, and the audience will use an

interactive pen to input a Fibonacci frequency. When a frequency is selected, the LED lights will change correspondingly, the water will vibrate in cymatic patterns, and the tray will be projected onto one to three walls. Creating environmental ambience will draw the audience to our installation. Static posters could also be used to highlight supporting information. One acrylic tray and one strip of LED lights will need to be bought. One Arduino, three projects,four gel speakers, and a table can be booked. We will each send our section of the first submission to the designers by Wednesday, 19th February.

26 February 2014In this meeting with our supervisor, Dave, we discussed our findings from the previous experiments. One to three forty-centimetre acrylic tray(s) will be used to hold the water. Clicking an infrared pen over an interactive table, users will input frequencies and interface with our structure. A bespoke, wooden pedestal could be built with the architecture department in the weeks to come. Health and safety needs to be contacted as well.

The proof of concept for our project includes videos of cymatic patterns in the water illuminated by the LEDs, the research into the LEDs, and the Arduino and interactive table system for input. Unfortunately, both InSpace and Summerhall are not available for our final presentation. Alison House or Evolution House will need to be used.

The following specifies how our concept integrates with the system and the narrative. Our interface would consist of a Fibonacci geometric pattern superimposed over a similar pattern occurring in nature. Buttons to choose musical frequencies and corresponding colours based on Fibonacci ratios would be placed over each of the points of the geometric pattern. In this way, representative nature would be abstracted through patterns. Additionally, static posters will aid in educating the audience about the Fibonacci sequence and cymatics.

There is no meeting next week 5/2 for marking, and the next meeting will resume on 12/2. After this submission, we will split into smaller groups to be delegated various responsibilities.

MINUTES

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PLANNING

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DOCUMENTARY VIDEO

http://vimeo.com/87599652

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ACCOUNTS

Name Date Item PriceAfonso Arez

Bethany Ciullo

Rachel Feng

Angeline Girard

Jia LI 03/02/2014 Plastic 1

Ramona Markova 03/02/2014

03/02/2014

Salt, Poundland

Padlocks, Timpson

1

8.95

Ríona Ní Bhrolcháin 31/01/2014

03/02/2014

03/02/2014

Mapex Head, Drum Central

Masking Tape & wire tape, Poundland

Sellotape, Tesco

5

2

1.05

Willow Yang

Total £19

34Contents Page

Afonso Arez

Design & Digital Media

Jia LI

Digital Media & Culture

Bethany Ciullo

Design & Digital Media

Ramona Markova

Design & Digital Media

Rachel Feng

Design & Digital Media

Ríona Ní Bhrolcháin

Design & Digital Media

Angeline Girard

Sound Design

Willow Yang

Digital Media & Culture

THE TEAM

35Contents Page

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Agnelli, J. (n.d.). Birds on a Wire. LifeBuzz. Retrieved February 10, 2014, from http://www.lifebuzz.com/birds-on-a-wire/

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Blore, D. (n.d.). Create Your Own Cymatics. Cymatics.org. Retrieved February 10, 2014, from http://www.janmeinema.com/cymatics/make_rig.html

Blore, D. (n.d.). Cymatics.org. Cymatics.org. Retrieved February 10, 2014, from http://www.cymatics.org

Chandra, P., & Weisstein, E. W. (n.d.). Fibonacci Number. Wolfram MathWorld. Retrieved February 10, 2014, from http://mathworld.wolfram.com/FibonacciNumber.html

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Cunningham, N. (2008, March 5). Chladni Patterns. YouTube. Retrieved February 10, 2014, from http://www.youtube.com/watch?v=wMIvAsZvBiw&feature=youtu.be

Cunningham, A. (2010) Water Pool. Retrieved February 09, 2014, from http://www.cymatics.co.uk/alice-cunningham/

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Dwerg, B. (2010, April 19). The Miracle of 528 Hz Solfeggio and Fibonacci numbers. YouTube. Retrieved February 10, 2014, from http://www.youtube.com/watch?v=9oSePXRbW9o

Ficklin, J. (2006, September 15). Ruben’s Tube. YouTube. Retrieved February 10, 2014,

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Henderson, T. (2014). Sound. Physics Classroom. Retrieved February 10, 2014, from http://www.physicsclassroom.com/class/waves/

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Kenichi Kanazawa: Colour Sound. (2011, November 27). YouTube. Retrieved February 10, 2014, from http://www.youtube.com/watch?v=Hv7076WD5mo

Knott, R. (2010). Fibonacci Numbers and Nature. The Fibonacci Numbers and Golden Section in Nature. Retrieved February 26, 2014, from http://www.maths.surrey.ac.uk/hosted-sites/R.Knott/Fibonacci/fibnat.html

Kumar, M. (n.d.). How to Make Sound Come Alive - Cymatics. Instructables.com. Retrieved February 10, 2014, from http://www.instructables.com/id/How-to-Make-Sound-Come-Alive-Cymatics/

Lamb, R. (2008, June 24). How are Fibonacci numbers expressed in nature?. HowStuffWorks. Retrieved February 9, 2014, from http://science.howstuffworks.com/life/evolution/fibonacci-nature1.htm

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Meehan, J. (2009, November 25). Cymatics for Kids: A Sound Waves Lesson Plan. Journal of Cymatics . Retrieved February 10, 2014, from http://cymatica.com/2009/11/25/cymatics-for-kids-a-sound-waves-lesson-plan/

Meehan, J. (2010, January 31). Sound Healing. Journal of Cymatics . Retrieved February 10, 2014, from http://cymatica.com/2010/01/31/sound-healing/

Meisner, G. (2012, May 4). Music and the Fibonacci Series and Phi. Phi 1.618 The Golden Number. Retrieved February 3, 2014, from http://www.goldennumber.net/music/

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Monoskop. (January 23, 2014). Ernst_Chladni. Retrieved February 17, 2014

from http://monoskop.org/Ernst_Chladni

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Reid, J & A. (n.d). Cymatics A Bridge to the unseen World. Retrieved February 11, 2014, from http://cymascope.com/cyma_research/Veritas_cymatics.pdf

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Telfer, J. (n.d.). Bubble Experiments. Cymatic Music. Retrieved February 10, 2014, from http://www.cymaticmusic.co.uk/bubble-experiments.htm

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Bourland R. (2006). Cymatics and chladni patterns. Retrieved February 18, 2014,

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IMAGE REFERENCES

MUSIC REFERENCESGrechko, C. (2014) Tell Me...[online] available from <https://soundcloud.com/cosmonautgrechko/tell-me> [26 February 2014 ]