Voyager Captures Sounds of Interstellar Space

 

“NASA’s Voyager 1 spacecraft captured these sounds of interstellar space. Voyager 1’s plasma wave instrument detected the vibrations of dense interstellar plasma, or ionized gas, from October to November 2012 and April to May 2013. The graphic shows the frequency of the waves, which indicate the density of the plasma. Colors indicate the intensity of the waves, or how “loud” they are. Red indicates the loudest waves and blue indicates the weakest. The soundtrack reproduces the amplitude and frequency of the plasma waves as “heard” by Voyager 1. The waves detected by the instrument antennas can be simply amplified and played through a speaker. These frequencies are within the range heard by human ears. Scientists noticed that each occurrence involved a rising tone. The dashed line indicates that the rising tones follow the same slope. This means a continuously increasing density. When scientists extrapolated this line even further back in time (not shown), they deduced that Voyager 1 first encountered interstellar plasma in August 2012. The Voyager spacecraft were built and continue to be operated by NASA’s Jet Propulsion Laboratory, in Pasadena, Calif. Caltech manages JPL for NASA. The Voyager missions are a part of NASA’s Heliophysics System Observatory, sponsored by the Heliophysics Division of the Science Mission Directorate at NASA Headquarters in Washington. For more information about Voyager, visit: http://www.nasa.gov/voyager and http://voyager.jpl.nasa.gov .”

Stan Brakhage – “Cat’s Cradle” (1959)

Paul Arthur, in his essay for The Criterion Collection, wrote that Cat’s Cradle “does not entirely suppress our recourse to naming but rather floods our typical eye-brain loop with stimuli for which attached language cues are either less than automatic or, in cases of purely sensory appeal, non-existent.” Fred Camper, in another essay for The Criterion Collection, remarked upon the mysteriousness of the four characters’ interactions, but was nevertheless “kept on edge by the very rapid intercutting… the viewer is at once encouraged to come up with his own interpretations and prevented from settling on any one idea.”

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George Dunning – The Tempest (unfinished) (1978)

After Damon, Dunning began to lay plans for a feature based on Shakespeare’s The Tempest. Dunning had been unwell throughout the production of Yellow Submarine, and poor health continued to dog him. When he died in London on 15 February 1979, The Tempest remained sadly unfinished. The collated surviving material – black-and-white pencil tests, pose sketches, a few full-colour animation sequences – hints at a bold expansion of past techniques, with figures, landscapes, even the Shakespeare text, in perpetual flux.”

see also: Ubu