Neural Methaphor for an Audiovisual System

In January 2010, I tested the prototype of my discharge tube and I could observe the phenomenon of energy creating connections in a multi-electrodes environment (video-documentation 1'13''). The image I saw, it was instantly associated in my head to a neural connection. The discharging electrode was trying to visualize his own informations (about parameters of oscillations) together to the other electrode. Afterwards I found out that, scientifically, nature finds efficient to transmit energy on long distances by twisting together monofilaments of plasma.

This fact was very illuminating about the nature of energy in our universe, because confirmed me the tendency of free matter to be synchronized as I wrote in my previous text: Art of Synchronization in Chaotic Systems.

Inspired, I started a research about neural systems and/or neural network. From Wikipedia:

1. Biological neural networks are made up of real biological neurons that are connected or functionally related in the peripheral nervous system or the central nervous system. In the field of neuroscience, they are often identified as groups of neurons that perform a specific physiological function in laboratory analysis.
2.  Artificial neural networks are made up of interconnecting artificial neurons (programming constructs that mimic the properties of biological neurons). Artificial neural networks may either be used to gain an understanding of biological neural networks, or for solving artificial intelligence problems without necessarily creating a model of a real biological system. The real, biological nervous system is highly complex and includes some features that may seem superfluous based on an understanding of artificial networks.

Working on inventing a plasma light-sound instrument, conclusions became clear: in a multi-electrodes discharge tube, the plasma light configuration is an unlinear (unpredictable and chaotic) phenomenon sensitive to be interfered on a double level: 

1. internal: by an artificial intelligence able to elaborate an output by changing parameters of the system digitally to configure plasma into certain physical and structural limits (shape of tubes, measures ext).
2. external: by inviting the audience to interact with the machine based on touching (with the hands) the electric field on the surface of the glass.

In these conditions, the "neural behaviour" of plasma by means of elaborating information based on a network cooperation of High Voltage sources (since the observable configuration is the result of  physical interactions by twisted multiple plasma filaments), consists on the creation of an audiovisual substance, visually remarkable on the aesthetic quality of plasma  and acoustically detectable on the radio-waves propagation through the space.

ionesis - sonic plasma performance/autonomous installation

Interfaculty of Art Science

Master Project Degree of Alfredo Ciannameo

Title: ionesis

Abstract 

99% of the Universe known is made of plasma; ionized gas considered the fourth state of matter. It is observable at the point commonly called 'electrical break-down' [1] which is the amount of energy sufficient to break the atomic configuration in order to produce collisions of free charged particles effecting light phenomena. On electrical level, the break down point is specifically measured in different gasses across thousands of Volts, defining itself as high voltage current type. 

In this research, the basic principle above mentioned has been explored to structure a visual-sonic environment, which creates a specific and peculiar aesthetic as consequence based on a physical content.

While in ionesis audio signals are converted electrically into light, the related experience goes beyond this simple translation: it offers a visualization of the particular way of plasma to spatialize its pulsing energy into a designed environment. Involving artistic choices in this physical process, composing sound and light in time, it becomes indeed a form of Art.

Historical background

The historical background relates ionesis artistically to the visual music tradition, which counted several experiments of light-organs to translate, in ocular stimulations, sound and music. In this field, it's possible to remember visual machines invented by Charles Dockum and Thomas Wilfred, whose MobilColor (1936) and Clavilux (1919) represent superlative instruments to interpolate sound into light however as result of arbitrary supposition. [2]

The 'sonochemical observatory' Camera Lucida (1998) - by Evelina Domitch and Dmitry Gelfand - evolves this sonic-visualization intent into more scientific approach, supporting their particular research on Bubble Chamber as sonoluminescence phenomena recreated in a controlled environment.

The technological background of ionesis in science and media, it has been referred first to principles of Tesla Coils (1888) patented by the engineer Nikola Tesla and later to a lamp called Plasma Globe (1971) by Bill Parker, invented while he was studying as student in a physics laboratory at the Massachusetts Institute of Technology. Ionesis can be technologically considered a direct evolution and a new interpretation of these innovations. For the first time, it involves multi-high voltage sources in the same inert-gas environment, characteristic this used to create a multi-electrodes Argon Discharge Tube able to visualize sound.

Scientific aspects

The focus of this research is the following scientific observation: “Nature finds efficient to be able to transfer energy on long distances by twisting two filaments of plasma together and this is the characteristic how plasma carriages current trough the space. Discharge phenomenon seen in plasma laboratory, propagating in few centimeters, can be scaled up to the size of a galaxy preserving formal structure [3] ”.

For the fact of being a multi-electrodes system, plasma filaments in ionesis, while discharging one electrode, are attracted by filaments discharging other electrodes. The result is a complex configuration of plasma visualizing a dynamic sonic-plasma sculpture.

Plasma is a class of light-form which behavior is generally defined unpredictable as described by the Quantum Physics. Consequently, a plasma instrument has to be considered a chaotic system, which is partly possible to be interfered, but not entirely controlled. His propagation of energy follows certain rules depending on architectural aspects of the generating system and physical implications which certain design involves. 

Design

The ionesis’ design has been conceptualized on different parts: the glass volumes, the supporting structure and spatial placement of speakers.

Glasses have been produced following two designs: one central volume - a tube with six separated electrodes located on the top and on the bottom - and two smaller twins having, instead, three parallels electrodes on the length of a equal tube shape. Twelve electrodes in total are organized in one column of three lines, which describes a triangular architectural system.

The supporting structure has been constructed in a tri-centric arms-system, made of wood and metal ropes, which expands and opens symmetrically in the space the geometrical form of the electrodes. The column of glass, containing electrodes, is placed in the center in order to be the focal point of the global view. Such a structure offers an ideal context for the audience.

Three speakers are placed in the room to be a triphonic sound system, following the triangular form to create an acoustic space.

The choice of this organization is based on the primary 3D Geometric theory. In a 3D system, which tries to simulate our modality to perceive the space, the basic geometry used to build complex polygons, consists of three points in one plane: the triangle. "Three vertices, connected to the each other by three edges, define a triangle, which is the simplest polygon in Euclidean Space". [4]

Methods

In this field of research, the artistic statement of ionesis is about synchronizing plasma-sound events as a main choice to formulate perceptual meanings in the execution of one piece played on such an instrument.

This methodological aspect, structuring an artistic language able to communicate an "understandable truth" about a technological platform, is possible by applying conditions that organize a phenomenon otherwise chaotic. Building a grammar in this way, it can be recognized as semiotic quality for those who "trans-form" energy in their work.

Tools used to interfere the activity of the light are implemented by the sound synthesis and applied to composition in time. The execution is partly written on score and partly improvised. Techniques of synthesis operating in software are the followings: granular synthesis, frequency modulated synthesis and matrix channels system to control the output.

An interaction between six audio-signals, algorithmically formulated by pulses of sinusoids and electrically interpreted by high-voltage circuits, effects a certain configuration of plasma filaments synaesthetically to the sound. As reactive pulses based system, pulses of sound and plasma have to be considered the fundamental characteristic of the developed electrical machine.

Switching ON/OFF electrodes, order/random, speed, wave phase, differences in amplitude are the possible ways to interact with the chaos dynamic of the plasma light according to the technical capacities of high voltage circuits used in this version.

Trajectories for the future

This described, it was the first version of ionesis. Two important aspects have not been considered yet. The first is the attraction of plasma filaments to human bodies, meaning electrically to the ground. The second is the complex electromagnetic field created around plasma, which is one dimension of propagation of energy trough the space. Placing three antennas in proximity of electrodes, it’s possible to transduce this electromagnetic propagation into audio signals again by capturing the radio field. Antenna signals can be used to remodulate the previous computer generated sound and sent to speakers. The result would be an acoustically spatialization of the plasma activity by a quite peculiar noisy sound.

Focusing on these aspects being part of a future development, it is a dream of ionesis to become an interface able to interact its sonic-plasma to the external world or - pushing my imagination to the limit – to be an artificial organism made of sonic-plasma, who decides creatively its behavior based on a software’s algorithm.

                         

Den Haag, NL

June, 1010

Links:

[1] http://en.wikipedia.org/wiki/Electrical_breakdown 

[2] Evelina Domnitch and Dmistri Gelfand - Camera Lucida.  MIT press

[3] THUNDERBOLTS OF THE GODS by Davis Talbott, Wallace Thornhill: Electric Universe

[4] http://en.wikipedia.org/wiki/Polygonal_modeling

Prospettive di Risonanza [ITA]

"Ogni sistema fisico che sia caratterizzato da frequenze proprie di oscillazione può risuonare con una sorgente esterna [1]." Wikipedia.

Secondo il principio sovrascritto, ogni corpo fisico che possiede delle proprieta' oscillatorie e' soggetto al fenomeno della risonanza che costituisce il principio fondamentale della musica. A questa affermazione si puo' aggiungere che tale fenomeno puo' essere amplificato tramite dei risuonatori (le casse acustiche delle chitarre per esempio) e reso sensibile cosi all'orecchio umano. Se noi prendessimo una corda metallica e la pizzicassimo facendola vibrare in una stanza, questo spazio in ultimo costituirebbe il risuonatore amplificando il suono emesso dalla vibrazione della corda. Questo significa che uno spazio archittettonico, oltre a possedere le caratteristiche volumetriche proprie fatte di rapporti e proporzioni, possiede anche proprieta' acustiche specifiche che lo rendono in ultimo un grosso strumento musicale che puo'  essere suonato.

Il mio lavoro si basa su questo principio: la sonificazione di spazi architettonici. Se le architetture risuonano determinate frequenze per le loro caratteristiche volumetriche, e' possibile laddove viene istallato un sistema di emissione sonora rendere percepibile all'orecchio quelle specifiche frequenze sonore che lo spazio risuona o che suona per dirla seguendo la metafora dello strumento musicale.

Prospettive di Risonanza e' un istallazione su loco, dove tramite una piattaforma tecnologica si fa suonare l'anima architettonica del luogo stesso generando un paesaggio sonoro. Quello che vuole esplorare questo lavoro e' la capacita' di sensibilizzare lo spettatore e rendere esperibile la profondita' dello spazio architettonico attraverso la sua sonificazione.

Il sistema tecnologico utilizzato sfrutta un programma interattivo in cui l'input e' costituito da 2 microfoni e l'output e' materiale sonoro processato dal vivo dal computer emesso poi da 4 fino a 8 casse acustiche. Utilizzando l'effetto del feedback sonoro o eco, si genera in questo lavoro un paesaggio sonoro complesso e dinamico che racconta lo spazio in cui e' istallato.

La programmazione del variare automatizzato delle frequenze sonore permette in ultimo la suddetta risonanza delle prospettive architettoniche.

Art of Synchronization in Chaotic Systems

Introduction to a presentation of the 18th of June 2009: 

Since technologies are increased by artists in their practice, the process of manipulation and control of media's variables/parameters is linking models of representation borrowed from different discipline like Mathematics, Physics, Biogenetic ext. Between these, especially in the contemporary age, chaotic models are one of the most fascinating and explored approach from artists that work simulating or involving processes of nature as form of expression.

Historically recreating nature is in the fact the oldest aim of the artistic production since humans started to research for an artificial copy of the world around them. In general according to classical science theory, the universe moves following chaotic rules so that it's almost impossible to anticipate how a flame of candle will burn or the exact spot of a discharging lightning.

The unavailability to humans of a general pattern able to solve the behavior of the universe can be one reason. But in specific, nature is also paradoxically well organized. And science, which has long considered order and synchrony the exception rather than the rule in a chaotic universe, is beginning to come around. Order is all around us, and scientists in diverse disciplines are constantly uncovering new examples of it.

In a universe where everything is interconnected, several specific examples of organization subscribe indeed a general character of synchronization. And the reason of a change of prospective by some scientists seems to be related to the capacity of order to be meaningful. It can be changed in the form: in a chaotic system synchronization is a meaningful condition. And in reverse mode: in a synchronized system chaos is a meaningful condition. What makes sense, it seems to be an open system anyway where there is a break point or critical point. Geometrically this open system is represented by a spiral in opposite to a sphere. 

If Art has to deal with meanings, the relation between synchronization and chaotic elements is the main aspect of this research. And following this line, music and composition are the human way to be part of a synchronized dynamic in the chaotic universe. These aspects are part of two projects presented. While in the Collider (under construction), the chaotic phenomena of the plasma filaments generated by a system is going to be synchronized hopefully by music composition, in Licht - light (image attached), the implementation of not linear variables in jitter performs certain visual behavior of the light in a limited dynamic range as limited are certain chaotic systems in Mathematics. Focusing on the critical point as creative condition for an open relation to nature, we can extend this as method for understanding. The phenomena observed by scientists in Physics translates, mostly into a description-interpretation, the energetic release previously contained in a body potentially. But colliding opposite forces, it's possible to constrict the manifestation of this energy dissipated till limits. Following this metaphor, we can consider the collision between opposite principles as useful to open the object making it visible and understandable to the subject. And to say more, researching for experience of sensory collisions (collisioni sensoriali) we can finally access in this understanding state of mind.