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Re: AUDITORY Digest - 6 Mar 2003 to 7 Mar 2003 (#2003-55)



Hi list,  I am new to the group and not much of a specialist,  I hope you
find interest in my projects.

I am experimenting with frequencies emitted from fridges (predominantly 50hz
@ 220vAC) against
the catalyst of an oscillator of varying frequency ranges.  The constant hum
of an appliance can be manipulated with a variable transformer, reducing
current and hence frequency.  When playing two fridges against one another I
find interesting phase relationships as well as the ability to form chords
etc.  When in stereo relation, a fridge with an oscillator at 5khz creates a
situation whereby the sounds begin to lace one another.
This also creates a situation whereby one is more aware of physical and
aural space when in motion through such space.

The reason for such experiment is in the line of human response to machine,
e.g.: the ability of one to synchronise or be completely out of harmony with
a situation of sound and vibration.
What is constant and not necessarily of valid information is subconsciously
ignored.  Such habit of tolerating noise creates robust urban folk.  In this
line I am soon to experiment with subtle modulations of otherwise stable
noise present in restaurants to monitor response.

I write to the group for any advice relating to the following in this
context,
1) Beat frequencies occurring naturally and without direct hemisphere entry
(headphones)
2) Human interpretation of phase relationships from machinery.
3) The term and information/links about human editing of the useful from the
useless in sound

I am also collecting and cataloguing expiring Tl. Light Tubes and pacemakers
in the interest of pattern similarity and diversity.  Just beginning but
anyone interested in results can be posted.  I am struggling to process
results for lack of mathematical education!

These projects are towards a small museum display I will construct
documenting noise in the city.  Any interesting cases come across are
welcome.

Thanks for your time, james



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