Kulturtechno

(via Larson auf FB)

Ich bin schon am komponieren…

Babypod is a small intravaginal device. Scientific studies show that is the only one that stimulates the vocalization of babies before birth through music and encourages their neural development. With Babypod, the strongest bond starts through music and inside the belly. It will be the first shared experience between a mother and her baby and the child’s first musical and learning experience.

Babypod is the only product of its kind scientifically guaranteed. It has been tested and approved by Institut Marquès, an internationally renowned centre in Gynaecology, Obstetrics and Assisted Reproduction. For parents, it is also an unforgettable and exciting experience and the first shared with your baby. Quite a show.

Give your baby a universal stimulus, send a message from the womb and make sure it is heard.

(via Nerdcore, die FAZ berichtet ebenfalls.)

Wo wir bei Visualisierungen sind…

In 1929, the Russians produced their first talkie, the snappily titled The Five Year Plan for Great Works. The possibility of synchronized sound inspired a trio of pioneers, composer Arseny Avraamov, animator Mikhail Tsihanovsky and engineer Evgeny Sholpo who were fascinated by the curved loops, arcs and waveforms on the optical soundtrack. The patterns made them wonder if synthetic music could be created by drawing directly onto the sound track. Of course, this they did, at first testing out vase-shapes and ellipses then Egyptian hieroglyphs—all with startling results.

In 1930, Avraamov produced (possibly) the first short film with a hand-drawn synthetic soundtrack.

(via Dangerous Minds)

Irgendjemand bezahlt dafür eine Domain. Vielleicht ist es ja Kunst?

http://www.kammerton.de/index1.html

(via Sixtus)

(via jetzt.de)

(via)

(via Soup)

It was during his boyhood in Denmark that the inventor began experimenting with light, making rainbows on the walls with prisms pilfered from the chandelier. Later he learned to project light forms from a cigar box; and finally the finished product of his boyish experiments appeared in the steel instrument on which he now performs.

The clavilux has three manuals and a triple light chamber, corresponding respectively to the keyboard and wind chest of the pipe organ. Disk keys appear on the manual, moving to and from the operator and playing color and form almost as the pipe organ plays sound.

There are 100 positions for each key, making possible almost infinite combinations of color and form. The “music,” or notation, is printed in figures upon a five-lined staff, three staves joined, as treble and bass clefs are joined for piano, to provide a “clef” for each of the three manuals. A color chord is represented by three figures as, for example, “40-35-60″; and movement of the prescribed keys to the designated positions on the numbered scale of the keyboard produces the desired figure.

(via modern mechanix)

(via Kraftfuttermischwerk)