But what about experiencing these data with other senses, like hearing? Sonification is the process that translates data into sound. Our new project brings parts of our Milky Way galaxy, and of the greater Universe beyond it, to listeners for the first time.
This tone represents sound waves that traveled through the early universe, and were later "heard" by the Planck space telescope. The primordial sound waves have been translated into frequencies we can hear.
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They sound like a constant humming and are made up of a primary wave (the lowest tone) and higher overtones. The "whooshing" oscillation sounds you hear were produced during the processing to make this sound file.
Before there were any stars or galaxies, 13.8 billion years ago, our universe was just a ball of hot plasma -- a mixture of electrons, protons, and light. Sound waves shook this infant universe, triggered by minute, or "quantum," fluctuations happening just moments after the big bang that created our universe.
As these sound waves propagated through the young universe, they left imprints on the matter and light, much like patterns made by waves on the surface of a pond into which a stone has been dropped. These patterns were imprinted as slightly brighter and darker patches in the light. By mapping this ancient light that has traveled to us through space and time, Planck can essentially see the sound echoes of the early universe.
For this sound file, the patterns in the sky observed by Planck have been translated to audible frequencies. This sound mapping represents a 50-octave compression in going from the actual wavelengths of the primordial sound waves (around 450,000 light-years, or around 47 octaves below the lowest note on the piano) to wavelengths we can hear.
This wealth of observational data often leads to spectacular images that populate astronomy journals and websites. But a growing number of astronomers are now also analysing it using sound. Through "data sonification", they convert numbers into audible tones, chirps and hums to augment their intuitive experience of the invisible universe.
"Some data is very difficult to visualise," says Anita Zanella, an astronomer at Italy's National Institute for Astrophysics. Zanella studies galaxy formation and structure. Her research often involves correlating more variables and parameters than a data visualisation can accommodate. "One thing we can do is have an image, and then add sound. You see the shape of a galaxy, and then 'listen' to its brightness or velocity. This would help us make sense of it."
Just as scientists use colour, shape, and size to visually represent different types of data, they can use timbre, volume, pitch, spacialisation and other sound qualities to expand the parameter space. (Read about the weird hum from the beginning of the Universe.)
In addition to opening new avenues for research and knowledge creation, data sonification also creates new entry points into professional and amateur astronomy, both for people with visual impairments, and also for people who interpret sounds more easily than pictures.
"People think of astronomy as a visual science, but that doesn't necessarily make sense," he says. "Most of the Universe is outside the visible spectrum, we're observing X-ray, radio waves, or ultraviolet radiation. For people who are visually impaired or blind, data sonification can give them access. Sometimes it just makes sense to turn things into sound. Sometimes listening for a pattern yields better results than looking for it."
"It was one of the first times the public became aware of the possibility of learning about astronomy through a different sense than sight," says Zanella. "I think that chirp triggered the curiosity and imagination of people. While images are very powerful, sound in general is more engaging."
Around 240 million years ago, a black hole deep in the Perseus galaxy cluster was going about its business, devouring its accretion disc, and creating huge pressure waves in the surrounding superheated gas. These waves sent an electromagnetic "light echo" across the universe. In 2013, Nasa's Chandra X-ray Observatory detected these pulses in a range of the electromagnetic spectrum invisible to human eyes.
MIT physicist Erin Kara was part of the team who turned these light echoes into sound. The resulting hum felt eerie and powerful, as though it might actually be the kind of sound a hungry black hole made.
Musically, the album has a heavy use of analog synthesizers giving it a more traditional electronic sound. The opening track "In Chains" opens with synthesizers tuning up. "Wrong" was chosen to be the first single off the album since the band felt it sounded very different. Gahan described the track as having R&B influences while also being a rant.[11] Gahan explained that "Come Back" was going to sound more gospel but the band decided to make it into a wall of sound.[12]
Sounds of the Universe received generally positive reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 70, based on 28 reviews.[14] Entertainment Weekly's Leah Greenblatt stated that on Sounds of the Universe, Depeche Mode "still sound genuinely inspired"[17] and Ned Raggett of AllMusic concluded, "Sounds of the Universe is a grower, relying on a few listens to fully take effect, but when it does, it shows Depeche Mode are still able to combine pop-hook accessibility and their own take on 'roots' music for an electronic age with sonic experimentation and recombination."[15] Neil McCormick of The Daily Telegraph noted that the album "shows up the imaginative constraints of most guitar-based rock."[25]
However, Rolling Stone critic Melissa Maerz felt that "the result sounds like a time machine back to the Eighties", adding that "Depeche Mode should be poised for a comeback, but it's too soon to unpack those black turtlenecks."[22] Bill Stewart of PopMatters wrote that Depeche Mode "tempt us with a strong first half and then dump us in a collection of tossed off b-sides."[21] Jon Caramanica wrote for The New York Times that while the album "lacks the fragility of 1984's Some Great Reward or the earned attitude of 1990's Violator, it's unmistakably an attempt at revisiting the past, admirable either as an act of defiant stubbornness or tenacious commitment", but also opined that "even at its most imaginative, this is seamless Depeche Mode filler, music that could be made by any number of acolytes."[26]
Near absolute zero, the weird rules of quantum mechanics start to apply to vibrations. If you think of a guitar string, you can pluck it to vibrate softly or loudly or at any volume in between. But in crystals cooled to this super-low temperature, the atoms can only vibrate at discrete, set intensities. It turns out that this is because when vibrations get this quiet, sound actually occurs in discrete units known as phonons. You can think of a phonon as a particle of sound, just as a photon is a particle of light. The minimum amount of vibration that any object can harbor is a single phonon.
Every sound begins with a vibration. When those vibrations travel through the air, they can enter the human eardrum where they are eventually turned into electrical signals that our brain interprets as sound. These vibrations can come from many sources on Earth as well as those in our Solar System and even across our universe.
Sound travels in a wave and has its own distinct properties. One of these is frequency, which is the measurement of how many peaks (or troughs) of a wave pass a particular point over a certain period of time. Frequency is most often measured in the unit of the Hertz (Hz), which is the number per second. In general, humans can hear in the range of 20 to 20,000 Hz. An elephant can hear in the range below humans, while dogs and cats are sensitive to much higher-frequency sounds.
Natural phenomena such as weather, earthquakes, and even black holes can produce very low-frequency sounds. Humans have also harnessed sound for improvements in technology such as medical imaging. Researchers can take information about objects or processes in the natural world and convert that it into sound to learn more about it or to communicate it in a different way.
Here, we will explore how scientists are using NASA's Chandra X-ray Observatory and other instruments on the ground and in space to study the cosmos through sound. Whether it comes from vocal chords in our throats or the surface of the Sun, sound plays a valuable role in our understanding of the world and cosmos around us.
In this new sonification of Perseus, the sound waves astronomers previously identified were extracted and made audible for the first time. The sound waves were extracted in radial directions, that is, outwards from the center. The signals were then resynthesized into the range of human hearing by scaling them upward by 57 and 58 octaves above their true pitch. Another way to put this is that they are being heard 144 quadrillion and 288 quadrillion times higher than their original frequency. (A quadrillion is 1,000,000,000,000,000.) The radar-like scan around the image allows you to hear waves emitted in different directions. In the visual image of these data, blue and purple both show X-ray data captured by Chandra.
What if, instead of seeing the universe as an explosion of light, we could hear it? That's where Kimberly Arcand, a visualization scientist and emerging tech lead for NASA's Chandra X-Ray Observatory, comes in. She's part of NASA's Sonification Project, an effort to turn data gathered from the universe into sounds, in part as a way to allow visually impaired people to experience the depths of our galaxy.
SAN DIEGO -- The early universe rang with the sound of countless cosmic bells, which filled the primordial darkness with ripples like the surface of a pond pounded by stones. The wave fronts later served as spawning grounds for galaxies, astronomers announced Tuesday. 006ab0faaa
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