The positioning of these works in the windows of an orphanage could suggest that their purpose was more than simply decorative. Rather, it suggests an effect structural to the physics at play, whereby free-flowing drops or liquids adopt the vibrating frequency of the diaphragm as it sweeps across the pigment. However, the size of these smaller details (as little as 2 mm across in places) marks them as perhaps originating not from a gesture of the hand and voice with a specific Eidphone. ranging from one inch to thirty-seven inches in circumference”, 6 making the smallest diaphragm around 8 mm in diameter. Watts Hughes discusses having made different sizes of Eidophone, and that "by varying the sizes of the discs, it is possible to find one to suit the lung capacity of every voice.
#Rapt meaning in english Patch#
Spatters and unexpected ruptures burst from the edge of the vibrating diaphragm, some of which emerge seamlessly and carry the same frequency of pattern before terminating in a darker patch of higher pigment density a profusion of serpentine emissions emerging from the central figure body - visually (although perhaps not mathematically) prescient of fractal graphical production. Were they a kind of writing, an expository method of display and measurement, or a mutable and plastic material - a site of aesthetic transformation and potential production? Audio-visual correspondences as aesthetic concerns - often suffused with occult or spiritualist sensibilities - grew to become well established in the more esoteric visual and musical practices of the late nineteenth century.Ĭlose examination of these larger plates reveals a variety of elements in abundance. This new-found visibility of sound fuelled much debate between artists, musicians, scientists, and even lawyers about what precisely these scratches and squiggles constituted. Scott de Martinville conceived the marks produced as a form of "auto-stenography", where the inflections and intonations of an individual's speech might be read by anyone with the required patience to learn this new form of "script". Patented in 1857, it consisted of a mechanism of vibrating diaphragm, lever, and a hog's bristle which scratched sound into soot-coated paper or glass. Probably the earliest practical example of such a recording apparatus was Édouard-Léon Scott de Martinville's Phonautograph.
From its inception the phenomenon necessarily relied upon the act - via the medium of a vibrating surface - of converting sound waves into physical motion, and a subsequent act of inscription. Recorded sound began as much a visual and textual concern as an auditory one.
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