#chladni

[nosuchfuture]

CYMATICS: Science Vs. Music - Nigel Stanford

This Nigel Stanford video is essentially a "greatest hits" of physics-based audio visualization: Chladni plates, Hose pipe, ferro fluids, Ruben's tube, tesla coil lightning... 

You’ve probably seen at least some of them before, it’s nicely done.

[museqmeg]

My favorite detailed adaption Orange did for Trigun Stampede was using the concept of Chladni's plates to make the plant resonance in Trimax feel so real and beyond just basic sci-fi.

Not to mention the plant markings are simply beautiful.

[dividedsingularity]

Various doodlings. "Murom zęby krat", a noise marine, a sword that was supposed to be Nightblood, Chladni plate patterns and just a pair of scissors.

[retrocompmx]

Un día como hoy (30 de noviembre) en la tecnología

El 30 de noviembre de 1756 nació Ernst Florens Friedrich Chladni, físico y músico alemán, considerado el padre de la acústica y el cálculo de la velocidad del sonido y cuya ecuación (la Ley de Chladni) de la relación algebraica para frecuencias modales ha permitido el desarrollo del MIDI #retrocomputingmx #ernstchladni

[geologyin-blog]

Fantastic Details of this crinoids fossil (Encrinus Liliiformis) From Bruchsal, Germany.

Age: Middle Triassic 247.2 Ma and 237 Ma (million years ago).

Photo 📷 Andi Chladny

[mothlady-garden]

So hear me out (this is all a big maybe): Plant-Song as a way to communicate, that manifests in their bodies

A Chladni figure these are created when a vibrating surface (usually a metal plate) is covered with sand and excited by different frequencies. The sand accumulates at the nodal points where there is no movement.

Now for comparison the Plant pattern we see in the Anime Opening:

And now as a comparison, the Plant markings in the manga, which display kinda similar characteristics, further reinforce this connection: (Manga spoiler)

If we analyze the pattern, in Stampede it could correspond to a higher frequency or a complex superposition of different vibrations. However, it is difficult to determine an exact frequency or a specific tone based solely on the pattern. Such shapes typically arise at certain harmonics, and if they are symmetrical, regular shapes, they usually correspond to sounds like sine tones. The shape could indicate a sound between 500 Hz and 2 kHz, which would fall into the range of high-pitched tones (e.g., violin or flute).

There is also a scene in TriMax Vol 5, Chapter 03: Loss where Knives says to Vash who is currently opend his gate for the first time "... resonate with me" what would also fit into this theory

In the *Trigun Stampede* soundtrack, there is a song titled "Plant Song on Erhu" that would fit well within these frequencies.

In general, Plants can communicate through primitive sounds accessible to us, but they only do so in moments of extreme emotion, such as in Trigun Vol. 2 Ch. 9.

Additionally, communication through vibrations and frequencies would be far more efficient than the human linguistic. Let’s assume that the singing of their sisters falls below 20 Hz, into the infrasound range. In this case, they could communicate over thousands of kilometers without humans perceiving it.

The audible spectrum for humans covers less than 1% of all possible frequencies.

My theory is that the Plants use the dimension available to them as a kind of resonating body, and a shadow of their song is reflected into the lower dimensions through these intertwined vibrations. On top of that, other beings (especially those who have been enhanced) may possess the ability to sense the aura and emotions of the twins.

This would also explain why Vash can "feel" his twin. The terror WW repeatedly experiences could be linked to the idea that the experiments have improved him enough to partially perceive these frequencies, and/or that his instincts as Homo erectus are awakening, urging him to flee from the "predator" before it’s too late.

Additionally, the *Song of Humanity* mentioned in the manga would thematically fit very well with this idea.

Edit: This could also explain why Vash and Legato can communicate throu some kind of "telepathy". Maybe the blue mother fucker can also recieve/send out something similar to Plant-Song

They are angel-like beings that communicate through song, shaping their bodies with their tunes. I find that a very beautiful concept.

I know the theory has MANY holes, but I still thought it was worth writing about. Sorry when this theory is old.😅

Thank you for taking the time to listen.

[publicdomainreview]

"Chladni figures" from 1787 created by German physicist and musician Ernst Chladni, showing nodal patterns made by drawing a bow along the edge of a sand-covered plate. More here: https://publicdomainreview.org/collection/chladni-figures-1787

[moishe-pipick]

Chladni figures

[scientific-dog]

Is JJ a Flying Polyp?

JJ FLYING POLYP PROPAGANDA

I am a Lovecraft fan and did you read his “The Shadow Out of Time”? I think that JJ has peculiar similarities to the Flying Polyp race.

(There, Flying Polyps were extraterrestrial race which devoured and exterminated another alien race named there as Yithians or The Great Race)

It’s just a speculation I made for fun, nothing special. Just compared two aliens. For fun.

1. I always wondered why no remains/prints of the Yithians were found anywhere (according to the lore of the story).

If the Polyps had the similar digestive tracts as JJ has, then there was nothing left of the devoured victim. Literally. They digest everything. No bones/cartilage/other hard parts for you, no waste products, they spit out metal or so as much as possible.

Devoured to nothing.

2. Returning to the first: the weapon of the Great Race against the Polyps. Polyps are only vulnerable to electricity. Jean Jacket, according to the canon, flies due to the electromagnetic field that he creates himself (obviously for this he has a special organ, I suspect it places somewhere on the sides and on the top like stingrays have), this is also why he interfered with the electronics. Let's say the Yithians used weapons that resonated/oppositely suppressed/something like that with the field of the Polyps. Then, if we consider JJ, these interferences not only deprived him of normal movement and they fell down, at least it could directly harm their organs, because if they flew due to this field, then it is clear that other systems of their body also depend on it. They could have been paralyzed by such a blow, or killed outright. That is, yes, this is indeed a very effective weapon against Jean Jacket

3. Polyps controlled the winds and other things. Well, everything is simple here: this is a beautiful metaphor for how JJ eats sand and creates winds and hurricanes. This is literally what he did in his spare time.

4. Polyps left huge marks on the ground (without touching it)

Idk, can we say that JJ has an image of a flying saucer? -> reference to crop circles -> back to the Polyp tracks? Maybe these traces are a consequence of the influence of the JJ’s electromagnetic field, which interacts to the surface sand when he flies close above the ground, like Chladni’s patterns

5. The polyps are semi-material and freely mixed through the air, and their shapes are indescribable.

Let's assume that the shape of a flying saucer is not necessary for the JJ-likes. In his open form, he indeed looks somewhat semi-material, and his body is very unusually shaped and truly indescribable.

And moving through the air is quite feasible for him thanks to the field + the fact that he is light.

6. But the saucer shape is already a modification, which allows him to quickly cut through the sky. Yes, exactly in the form in which he appeared in the end, he will not be able to fly quickly, this is the most non-aerodynamic form. But if he shrinks into a disk, it will be easier for it to fly at supersonic speeds. Let me remind you that he is probably very heavy, what makes a multi-ton predator need extra drag in an indescribable form. Plus it's easier to hide.

But the same Lovecraft had no talk of any plates. Well, yes, but they didn’t have to: there were a lot of them, you don’t need to hide or hunt, your crowd won’t drive you crazy

6. «…and of strange winds and whistling noises associated with them. And I thought of the tales, wherein the horror of great winds and nameless subterrene ruins was dwelt upon...» (quote from the story)

This is an addition to point 5 (winds).

But about the sounds: JJ has a very wide vocal range of sounds. In reality, they are whistling, clicking, grinding, etc.

«And all the while cold fingers of damp vapour clutched and picked at me, and that eldritch, damnable whistling shrieked fiendishly above all the alternations of babel and silence in the whirlpools of darkness around.��(quote from the story)

Those moments where JJ eats people are really similar. It creates a wind current to suck in the victim.

7. Flying polyps are an aggressive and predatory species. It is unknown how intelligent they are. Having no vision, they felt in some special way through any matter.

Yes, Jean Jacket is very aggressive. Fact. Especially if you make a visual contact with him. But even without this, he's crazy.

Yes, in the film's FD, of course, it is generally accepted that Jacket is just an animal. I used to think so too. But now it seems to me that his behavior is more aggressive than animalistic. At the very least, he did some things and clearly did them on purpose. Yes, destroying the Jupe’s show is an act of aggression. Drenching OJ's house with blood (intentionally! He deliberately vomited all over his ranch) is an act of aggression. Gobbling up a reporter and flying above OJ, while the guy is screaming inside Jeans' stomach is an act of aggression. And much more, as well as the intonation of some of its sounds. Yes, JJ is not a ruthless monster. But then he clearly went on the offensive and tried to show his dominance here. This also supports the first scene of the film with Gordy: the monkey lived calmly until he went crazy from the constant abuse and killed everyone. In fact, JJ demonstrates aggression only for the reason that your “attention” to him drives him crazy and he is mad, cuz that Jupe allegedly “deceived” him. That is, we clearly have awareness and he enjoys his “revenge.”

And he is mad by the fact that they are looking at him, it drives him into rage, just like Polyps.

Or how aggressively he behaved when he saw the ball. The whole bitch is exhausted.

Remark: I know that all the actions of JJ also can be explained that he wanted to lubricate his throat/hungry/etc but let it be, of course that’s all true, I just want to note that the fact that he are the horse decoy instead of real horse made him suffer from pain and made him aggressive, really agressive towards the person who “fed” him before and the whole crowd from the SLE only made it worse

8. Lack of vision in Polyps. Yes, it seems like the plates don’t even have glasses (but he still has something like eyes, but it’s still, like, and these “eyes” are well hidden)

[transmechanicus]

*puts a salt circle around the fairy circle*

*puts a salt circle inside the fairy circle*

*magically surrounds the fairy circle in a sphere of salt*

*salts the fairy circle directly*

*eats the fairy circle mushrooms*

*salt and eat the Primordial Fungal Choir of Ürn*

*develops higher dimensional salt circles with chladni plate resonance patterns*

*cultivate fairy circles in my own mortifying flesh*

*allow extradimensional fungi to consume treatises*

*rot into a higher plane*

[krisp-xyz]

Found your work. You inspired me to take another shot at technical art and graphics programming. Do you recommend any specific resources for getting started and beyond?

Thanks so much! Really glad I could inspire you to do that bc graphics and tech art things are so much fun :D

(Also sorry for the late response. I've been a bit busy and was also thinking about how I wanted to format this)

I'm mostly self taught with a lot of stuff and have done lots of research on a per-project basis, but Acerola and Freya Holmer are two of my favorite channels for learning graphics or technical art things. Shadertoy is also an amazing resource to not only create and view other's shaders, but learn about algorithms and see how people do things!

While I don't have many general resources. I'll steal these resources for graphics programming that Acerola shared in his discord server:

For getting started with graphics engine development: DX11: https://www.rastertek.com/tutdx11s3.html OpenGL: https://learnopengl.com/ DX12: https://learn.microsoft.com/en-us/windows/win32/direct3d12/directx-12-programming-guide Vulkan: https://vulkan-tutorial.com/

For getting started with shaders: catlikecoding: https://catlikecoding.com/unity/tutorials/rendering/ the book of shaders: https://thebookofshaders.com/ daniel ilett's image effects series: https://danielilett.com/2019-04-24-tut1-intro-smo/

For getting started with compute shaders: Kyle Halladay: http://kylehalladay.com/blog/tutorial/2014/06/27/Compute-Shaders-Are-Nifty.html Ronja: https://www.ronja-tutorials.com/post/050-compute-shader/ Three Eyed Games (this one teaches ray tracing AND compute shaders, what a bargain!): http://three-eyed-games.com/2018/05/03/gpu-ray-tracing-in-unity-part-1/

I also wanted to talk a little bit about I do research for projects!

A lot of my proficiency in shaders just comes from practice and slowly building a better understanding of how to best utilize the tools at my disposal, almost like each project is solving a puzzle and I want to find the most optimal solution I can come up with.

This is definitely easier said than done and while a lot of my proficiency comes from just doodling around with projects and practicing, I understand that "just practice more lol" is a boring and kinda unhelpful answer. When it comes to projects like my lighting engine, I came up with a lot of the algorithm stuff myself, but there were certainly lots of details that I learned about from past projects and research like ray marching (calculating the ray intersection of a distance function) and I learned about the jump flood algorithm from a tech artist friend (calculating distance functions from textures)

Each new algorithm you learn in various projects ends up being another tool in your toolbox, and each project becomes a combination of researching new tools and applying the tools you've learned in the past.

One last example. I made a Chladni plate simulation in blender (that thing where you put sand on a metal plate and play noises and it makes patterns) and it started with me researching and looking up chladni plates, I watched youtube videos related to why the sand forms the patterns it does, which ended up being due to how the sound waves displaced the plane. I googled some more and found the actual equation that represents it, and used it to simulate particle motion.

Figure out some projects you want to do and just do some googling or ask for help in game dev discord servers or whatever. Lot's of research on a per-project basis is honestly how you'll learn the most imo :3

[museqmeg]

I just realized that the plant markings were a very early concept. Tajima's concept art was one of the first things Studio Orange had done in Trigun Stampede's production; having him reference Oxi's novel of No Man's Land's 150-year history.

I think it's a safe guess that Oxi was the one who used the idea of Chladni's plates for plant resonance from the manga and Tajima came up with the designs we see here and in the final product.

Reading the Bernardelli Times from the English Blu-Ray and seeing the production timeline laid out got me going down this rabbit hole.

[beardedmrbean]

Behold, everyone’s favorite minimalist indie game soundtrack!

The Euphon was invented in the late 18th century by scientist (bear with me here) Ernst Florens Friedrich Chladni.  Much of his study was based in vibrations.  Chladni created his instrument after becoming antiquated with Ben Franklin’s glass armonica.  Originally, the euphon was made from solid glass rods, but modern ones are made from hollow metal rods.

Submitted by @eggs-n-ham-sam

Not often a instrument I have never heard of pops up, I do seem to recall the glass armonica was what was originally used for “Dance of the Sugar Plum Fairy” in the Nutcracker Suite (it was that or a celesta, both sound wonderful for the piece) this is a wonderful instrument though, haunting.

I’m gonna have to poke round and find some other pieces done on this thing

[epefanio]

♫•*¨♪♫•*¨*•.¸Sabishii¸.•*¨*•♫♪¨*•♫

Some information on Shibashii because I love him and am going to be talking about him a lot so I want one post to link back to

♡*+”:♡.•♬✧♡*Basics*+”:♡.•♬✧♡

♝ Sabishii Patma ♝

⟢ The name “Sabishii” is an Ideophone following the naming convention of Team Dosu ⟢ The surname “Patma” is based on the solmization scales “Patpat-lima” following the naming convention of Menpo ⟢

♝ He/him or any ♝

♝ 26 years old at the time of the chunin exams arc/death ♝

⟢ 19 years old at the time of joining the Sound and getting his genin team ⟢

♡*+”:♡.•♬✧♡*Jutsu*+”:♡.•♬✧♡

♝ Master of Hertz ♝

⟢ Sabishii uses frequencies in his attacks and is accounted for creating most if not all sound-based modern attacks ⟢ Due to this he was tasked with training Team Dosu with their sound-based weapons and was the one who helped design them ⟢

♝ Bukijutsu Usage ♝

⟢ Sabishii uses chakra infused weapons for the most part and is where he’s proficient ⟢ His main weapons are Buzzers ⟢ His chakra is unstable at times so he uses weapons to control and channel his chakra better ⟢ He has the most chakra in any of his teams but it’s also very hard to control meaning if he’s disarmed and tries to pull off an attack there’s a chance he will be injured from the inside ⟢ He lost one of his eyes in an accident relating to his chakra where the lines bursted and the blood vessels in his eyes exploded ⟢

♝ Buzzing Magnets ♝

⟢ He infuses his chakra into his buzzing magnets which amplifies their vibrations and directs them ⟢ The vibration enter his opponent’s body and bursts their blood vessels and muscles leaving them with wounds that resemble the way sand makes patterns on a Chladni plate ⟢ the more hertz / intense the frequency he uses the more chakra it uses ⟢

♡.•♬✧♡*Genin Teams*+”:♡.•♬✧♡

♝ Team Orochimaru ♝

⟢ As a genin he was on Orochimaru’s team with Anko and Menpo ⟢ After becoming chunin Menpo and Sabishii both went onto individual training; Menpo in medical jutsu and Sabishii in Bukijutsu ⟢ Sabishii would later join the Sound while Menpo stayed loyal to the Leaf ⟢

♝ Team Dosu ♝

⟢ After becoming a Jonin and joining the sound Sabishii would get Team Dosu as his genin team ⟢ Sabishii would train them in sound based attacks (the RES,tubes,and bells) ⟢ He was closest to Kin ⟢ He would not get to see his team participate in the chunin exams due to being killed by Orochimaru for his body ⟢ He put up a fight before his death and left notes for his team and Menpo though neither ever got to read them ⟢ He was valuable due to his sound jutsu knowledge but was ultimately killed due to planning to betray Orochimaru upon learning Team Dosu were no more than pawns ⟢

[everysoulsbigbro]

The Effects of Words and Vibration on Water as it Freezes

The interaction between sound, words, and water is a fascinating subject that combines physics, chemistry, and metaphysics. Studies have explored how external stimuli like words, sounds, and vibrations influence water crystallization during freezing.

Scientific Background

Water's unique properties are due to its molecular structure and hydrogen bonds, which play a critical role in freezing. When water freezes, its molecules form a crystalline structure, usually hexagonal ice, influenced by environmental conditions.

Theoretical Underpinnings

The idea that words and vibrations affect water crystallization comes from Dr. Masaru Emoto's controversial work. Emoto's experiments, detailed in "The Hidden Messages in Water," suggest that positive words, music, and intentions create aesthetically pleasing and well-defined ice crystals, while negative stimuli produce distorted crystals.

Key Experiment and Findings

1. Emoto's Water Crystal Experiment:

Emoto froze water samples exposed to various words, phrases, or music. He reported that positive stimuli (e.g., "love" and "gratitude") resulted in symmetrical crystals, while negative stimuli (e.g., "hate" and "anger") led to malformed crystals.

Cymatics and Vibrational Influence:

Cymatics studies the visual representation of sound waves. When water is subjected to specific frequencies, patterns like Chladni figures emerge, suggesting that sound vibrations can organize matter into distinct, ordered structures.

Criticism and Scientific Scrutiny:

Emoto's work has faced criticism for lacking rigorous controls and not being consistently replicated. Despite this, the popularity of his findings has spurred interest in the relationship between water and external stimuli.

Implications and Broader Significance

The concept that words and vibrations influence water has implications beyond scientific curiosity, touching on quantum physics, consciousness, and holistic health. If water molecules are influenced by human emotions and intentions, this could profoundly affect our understanding of consciousness and physical reality.

Quantum Physics and Consciousness:

Some link Emoto's findings to quantum physics principles, like the observer effect, suggesting a potential bridge between human consciousness and the material world.

Holistic Health and Well-being:

In holistic health, water quality is crucial for well-being. Positive intentions and words enhancing water structure align with practices like prayer and meditation, believed to promote health.

Environmental and Social Impact:

Understanding how environmental factors and human emotions affect water can influence environmental conservation and social interactions. Positive community engagement could potentially improve water quality and, by extension, ecosystems and human health.

Conclusion

While the scientific validation of Emoto's claims is contentious, exploring how words and vibrations influence water as it freezes opens intriguing possibilities. It challenges conventional scientific paradigms and invites deeper inquiry into the physical and metaphysical relationship.

Continued research with rigorous scientific methods is essential to substantiate or refute these claims. Regardless of the scientific outcome, the idea that positive energy manifests tangibly resonates deeply, emphasizing life's interconnectedness.

[jujurose222]

“Let us take another look at this elementary existence as a whole. You know of course from earlier lectures that we are accustomed to enumerate what we call the elementary states within our earth existence, beginning with the solid, then coming to the watery, next to the gaseous or aeriform and then to the warmth. These four constitute the denser conditions of matter. But we have not yet finished. If we go further upwards we meet with finer conditions, of which we do not get a much better idea by calling them finer substances. The main thing is to recognise them as finer relatively to the denser ones, the gaseous, the warmth and so on. They are usually called etheric states, and we have always distinguished light as the first of these finer states. Thus, when we descend from warmth into the denser, we come to the gaseous condition; if we ascend, we come to light. Ascending still further, beyond the light we come to a yet finer etheric condition, we come to something which is not really recognisable in the ordinary sense-world. We only get a kind of external reflection of it. From the occult point of view one can say that the forces in this finer ether are those which govern the chemical affinities of matter, the chemical combinations, the organisation of substances such as we can observe if, for instance, we place a fine powder on a metal plate, and then draw the bow of a violin across the plate, getting as a result the “Chladni” sound-figures. What the coarse physical tone brings about in the powder also occurs throughout space. Space is differentiated, is permeated, by forces which are more rarefied than the forces of light, by forces which represent in the spiritual what tone is in the sense-world. So that when we ascend from warmth to light, and from light to this finer element, we can speak of a chemical of sound-ether, which has the power to decompose and to combine substances, but is in reality of the nature of sound, sound of which the sense-perceptible tone which the ear hears is only the outward expression, the expression made by its passage through air. That brings us somewhat nearer to this finer element which is above light. Thus when we say that what has the quality of manifesting itself externally withdrew from the ha'arets with the haschamayim we must not think only of the light, but also of the finer etheric element of sound which permeates light.

Just as we go downward from warmth to air, and thence to water, so we can go upward from warmth to light, and from light to what is of the nature of sound, of chemical combination. And from water we can descend lower to earth. When we mount from the sound-ether we come to a still higher etheric condition, which also withdrew with the haschamayim. We come to the finest etheric state of all, which weaves within the chemical or sound-ether we have just been describing. If you turn your spiritual ear in this direction, you do not of course hear a noise in the external air, but you hear the tone which vibrates through space, the tone which permeates space and organises matter just as the tone produced by the bow of a violin organises the Chladni sound-figures. But into this condition brought about by the sound-ether is poured a still higher etheric mode. And this higher ether permeates the sound-ether just as the meaning of our thought permeates the sound which our mouth utters, thereby transforming tone into word. Try to comprehend what it is that transforms tone into a word full of meaning; then you will have some idea of this finer etheric element permeating the organising sound-ether and giving meaning to it—the Word which vibrates through space. And this Word, which thrills through space and pours itself out into the sound-ether, is at the same time the source of life, it is really vibrant, weaving life! Thus what has withdrawn out of the ha'arets with the haschamayim, what has gone into the sun, as distinct from the other, the lower, the earth part—as distinct from the tohu wabohu—announces itself externally as light. But behind the light is spiritual tone, and behind that is cosmic speech. Thus we may say that in the brooding warmth lives the lower spiritual part of the Elohim, somewhat as our own desire lives in the lower part of our soul. The higher spirituality of the Elohim, which went out with the haschamayim, lives in the light, in the spiritual sound, in the spiritual word, the cosmic Word. These can only stream into the tohu wabohu again from without.

Let us now try to bring before us in a picture what hovered before the soul of the Hebrew sage as ha'arets, as haschamayim. When what withdrew as spiritual light, as sound, as the uttering and formative Word-element, streams back again, how does it act? It works from the sun as articulate light, as light giving utterance to cosmic speech. Let us think of what we have called tohu wabohu in its darkness, in its surging interweaving of warmth, air and water; let us think of it in its light-forsaken darkness. And then let us think that out of the activity of the Elohim, through the creative Word, which as the highest etheric entity lies behind their activity, there rays in with the light all that streams out from the Word. How is one to describe what is taking place? One cannot more fittingly express it than by saying that the Beings who had withdrawn their highest into the etheric with haschamayim radiated answering light out of cosmic space into the tohu wabohu. There you have the substance of the memorable verse: And God said, Let there be light: and there was light. There you have the picture which hovered before the Hebrew sage…

Now in order to paint the picture more accurately, let us turn our attention to man as he is today. Let us ask ourselves how man has become what he is—I mean, what he is to the spiritual scientist, not to ordinary science. What is it that has given him the special structure which distinguishes him from all the rest of the living creatures around him? What is it which weaves throughout this human form? If one does not blind oneself it is very easy to say what makes him man; it is something he possesses which none of the beings around him has—speech, which expresses itself in its own proper sounds. That is what makes him man. Think of the form of the animal and ask yourselves how it could be raised to the level of the human form. What would have to permeate it for it to become human? Let us put the question in this way. Let us think of an animal form, and imagine that we have to make a breath enter into it—what would this breath have to contain, in order to make this form begin to speak? It would have to feel itself inwardly organised in such a way that it uttered the sounds of speech. It is the sounds of speech which make the animal structure human!

How then can one picture the cosmos? Out of all that I have put before your souls, all that I have built up gradually out of this elementary existence, picture by picture, how can one come to feel the cosmos inwardly, how can one come inwardly to feel the structure of macrocosmic man? By beginning to feel how the sounds of speech flash into form.”

Rudolf Steiner