http://invisibleplaces.org/
Sound, Urbanism and Sense of Place
18–20 July 2014, Viseu, Portugal
Scientific Committee
- Adriana Sá Goldsmiths University, EAVI Group / Computing Department
- Andrea Parkins Composer, sound artist/ Faculty, MFA in Interdisciplinary Arts program, Goddard College, Vermont)
- Andrea Polli Associate Professor, Fine Arts and Engineering, University of New Mexico
- Angus Carlyle Professor of Sound and Landscape (University of the Arts London / CRiSAP)
- Carlos Alberto Augusto Sound designer, composer / IPA
- Catherine Clover, audiovisual artist/Swinburne University Melbourne (Writing)/RMIT University Melbourne (Fine Art and Sound)
- Eric Leonardson School of the Art Institute of Chicago (SAIC) / President do World Forum for Acoustic Ecology (WFAE)
- Jennifer Stoever-Ackerman State University of New York, Binghamton / Sounding Out!
- John Levack Drever Goldsmiths / University of London
- José Bragança de Miranda FCSH – UNL / U. Lusófona
- José Luís Bento Coelho CAPS - IST
- Keiko Uenishi, art-ivist, SHARE.nyc, doctoral candidate at PhD-in-Practice, Akademie der Bildenden Künste Wien
- Luísa Ribas ID+ / Faculty of Fine Arts, University of Lisbon
- Luís Cláudio Ribeiro U.Lusófona / Lisbon SoundMap
- Maile Colbert i2ADS / Cross the Pond / Faculty of Fine Arts, University of Porto / Binaural Nodar
- Miguel Carvalhais ID+ / Crónica / Faculty of Fine Arts, University of Porto
- Mohammed Bazine Boubezari Architect/ Parque Expo / CAPS - IST
- Peter Cusack University of the Arts, London/CRiSAP (Creative Research into Sound Arts Practice)
- Pedro Rebelo SARC/Queen's University Belfast / UFRJ
- Raquel Castro FCSH-UNL / CECL (Research Centre on Communication and Languages) / U.Lusíada
- Sabine Breitsameter Darmstadt University of Applied Sciences
- Teresa Cruz FCSH–UNL
- Vítor Joaquim Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University — School of the Arts, Porto
Landscapes {Soundscapes:
Dronestrikes on Saturn
Laura
Plana Gracia 1
1 University of
Sunderland, United Kingdom - lauraplanagracia@gmail.com
Abstract.
Dronestikes
on Saturn is the collaboration in between raxil4 and his Nameless Is Legion, an
audio work that uses reverb laden drones with pedals, sine generators and a
four track with loop tapes of some fine recordings or sonifications of the
Saturn radio waves recorded near the poles of the planet via the Cassini
spacecraft. It is a media ecology audio work offering an ethical composition
and an aesthetical piece for preservation of the space, the urban space or the
outer space, where these waves have been captured. In this case, preservation
laws could develop a strong policy to facilitate the research for audio work in
the conservation of sound as (eco)system.
Keywords: audio work, drones, generators,
sonifications, waves, media ecology, soundscapes, sound ecosystem, landscape,
sonic landscape
1. Introduction:
Spatial Aesthetics, Situationism & Cybernetics.
A Soundscape is a
tool to map the city, a counter mapping ideology opposed to surveillance.
Following Situationism and Psychogeography, sound art in public space
defence the connections between the place, the identity and the memory,
refusing the commodification of non-places and the unifying non-symbolic
landscape proposed by capitalist architecture. Since surveillance has turn into
merchandise, artists and medialabs transform the public space into a more
sociable place within the implication of alternatives strategies for
communication which use geophysical instruments such sensors or lasers.
Brandon LaBelle
in Background Noise: Perspectives on Sound
Art describes a soundscape as a potential tool to transform reality ([i]).
As he says, revolutionary statements make a claim onto history to charge a
given time and place with radical energy: to galvanize the masses, to overturn
social behaviour, to disrupt and ultimately transform reality. Such statements
act as momentary bursts of outrage and political conscientiousness, giving
definition to the here and now as a time in need of rupture. Exploring
revolutionary desire as a temporal moment, Brandon LaBelle examines various
historical texts and statements calling for social transformation. From Situationism to Black Caribbean rights,
random melodies are lyrical homages to revolutions. Comments and suggestions
about art production, time of spectacle, and organization of labour are used to
declaim about the revolutionary moment as a recurring intensity throughout
history. But, in a deeper projection, LaBelle also refers to soundscapes. A part to understand the
powerful meaning of sound in history, in Acoustic
Territories: Sound Culture and Everyday Life he explores the features of
the auditory paradigm, its relation
within the surrounding environment and the condition of architectural spaces ([ii]).
There is a genealogy or list of sites and topographies, such as underground
spaces, the street or the home, to investigate how sound lends to experiences
of place. This is further explored by considering place according to particular
sonic behaviours. Understandings echo,
vibration, feedback, rhythm, silence, noise and transmission, all are used to
investigate and unfold particular auditory histories and cultural narratives,
and to detail the sonic geographies
of everyday life. In that sense, Brandon LaBelle, is one of the main exponents
on the Spatial Aesthetics, a philosophic
movement, influenced by cartography,
mapping, Psychogeography, non-objectual tendencies in contemporary art,
geopolitics and materialism. Spatial Aesthetics
connect art with technology and ecology. Geopolitics,
Psychogeography and Situationism, as well as soundscapes, and other metaphysical and
artistic movements considering the effects of public space, territory or space in general, are studied and analysed
under its features. Spatial Aesthetics
has an intention to define and introduce a methodology to study theory of
systems and universal laws.
Another point to
consider is Psychogeography, the
science or study of the effects of the landscape on the emotions of its passers-by.
In this sense, there should be a sound-psychogeographic-practice
to pay attention to the establishment of security practices in public space
consisting on the display of CCTV. Electronic technologies provide
videosurveillance devices such as cameras or microphones for public space.
CCTV, wireless video and other surveillance system are imposed to reduce the
crime. There is one example to be analysed and it is the recorded video
material of an incident occurred in Woolwich, London, U.K. It is an historical
case about progress, technology and civil rights. The attack in Woolwich is
described as a terrorist attack, where the British Army soldier: Drummer
(Private) Lee Rigby of the Royal Regiment of Fusiliers was killed by two men
near the Royal Artillery Barracks. The existing CCTV recorded material was
analysed by the police but not released in the media. The Independent Police
Complaints Commission released a statement about the incident based in the
recorded CCTV footage. But, the images taken from passers and residents using
mobile devices and telephone cameras were distributed through media channels
like YouTube and newspapers as Daily Mirror. The most important about the case,
refers to the audio captured and recorded from i-phones and microphones from mobile
telephones. This is an historical novelty about public space sound recording,
new journalism and surveillance. Regarding the Data Protection Law 1998 it is
not permitted to record sound in public space. Electronic communications are
subjected to privacy legislation. Phone calls, emails, text messages, web
browsing sessions, GPS data, although being able to capture and record sound,
they are finally not permitted, its uses are against the law and against
privacy and human rights.
Following, Situationism is a counter-culture
tendency in art and public space. It is defined as a furious reaction to the establishment
of a mainstream culture. Their reaction implied an option that encourages struggle,
populism, and favoured a position for ecology in public space. The artists and writers
who participated in the International Situationiste
were Guy Debord, Libero Andreoti, Herbert Marcuse, among others. Situationism is the European alter-ego of
the Beatnik generation, formed by Bob
Dylan, Burroughs or Brion Gysin, in America. Both movements have been
influenced by oriental philosophy and open processes to understand art, science
and society. The Beatniks trusted that “Things
does not happen in logical sequence. Any writer who hopes to approximate what
actually occurs in the mind and body of his characters cannot confine himself
to such arbitrary structure as logical sequence. Joyce was accused of being
unintelligible and he was presenting only one level of cerebral events:
conscious sub vocal speech. I think it is possible to create multilevel events
and characters that a reader could comprehend with his entire organic being”.
This paragraph offers an idea about what exactly was the definition of a landscape of sound in mind for the Beatnik artists. Gysin in the Dream Machine
achieved to measure the ontological and metaphysical
dimension of sound through lighting the sense of vision towards the inside of
the brain. The effects of the movement in the neurons produced by the sparks of
lights created an inner soundscape. The
Beatniks understood why sound is an
open process and a non-linear system. Supporting that, Beatniks referred about how different levels of speech in the mind
of oneself, could resemble the idea of different range of frequencies found in
a sound spectrum. This is also a statement exposed by James Joyce in Finnegan’s
Wake, and it is about the multi-layered labels of language in the brain. Finally, it also has to be said how the Situationism, and among them, Guy Debord
declared themselves against “La Societe
du Spectacle” criticizing the media production, the cultural industries,
and the pop rock celebrities mass culture. From the counter culture scene, Beatniks and Situationits were also defenders of punk D.I.Y. do it yourself
ideology as anti-corporative movement. ([iii])
Another
supporting idea about landscapes and
soundscapes is about inner landscapes, mindscapes or experiences with Dream Machines. Here is to say why the
composition of audio works is a complete construction offering meaning and
answer to the space that surrounds us. This idea is defended in Cybernetic theories developed by Norbert
Wiener. The author offers an analytical response to understand the Sound as a
non-linear system. Through an approximation to noise as an effect in the computational process, sound is determined
as a chaotic and non-determinate responsive process. Moreover, Norbert Weiner cites
the Copernican system and the Ptolemaic system as philosophical examples to
study the geocentric system of the Universe. Those ancient traditions are based
in trigonometric analysis. But in complex
system (such as electronics, computation or physics), random and indeterminacy are main features to non-linear processes,
making systems become more complex and sometimes subjective. Noise
is understood as a random system. This effect creates an approximate definition
of creative processes in the Universe. In Norbert Wiener, all these
considerations regarding complex system, leads to determinate a new direction
for Cybernetics and scientific rationalism.
And this is the development of new models of techno-science based in electronics
and biology. This new model of science is dedicated to the study of life as a
complex, dynamic and random system, and moreover to sound as an (eco)system. Experiments with brain waves give us more information
about biological process and brain functions. Sounds coming into the brain give
us a physical response to the surrounding environment. So, sound is studied
through biologic processes based in Heisenberg, who developed the theory of
atomic indeterminacy, based in molecular textures, homeostatic processes
(changes in matter and temperature) and micro unities of measures. In addition,
Cybernetics as a confluence between biology
and electronics, in most part of the cases uses sound, noise and audio works to study complex systems altogether with gas
and other substances. It makes to change the idea about the definition of system,
a concept that belongs to mathematics, but becomes obsolete here because of new
processes to study more analytically the meaning of an eco-system, rather than
a system. It means, organized or not, a system that is alive. Indeed, the theory
of the Cybernetics supports the idea
of cyber-biology, techno-science and cyber-feminism. This New Science considers
sound as an eco-system of spectral frequencies.
Stochastic processes imply not only a re-consideration of the biological
condition of the sound spectrum, but
also a new designation and definition for the idea of the ecosystem of sound. To
study sound as a phenomena under the point of view of mathematics and logic, means
to accept the definition of a system, but considering the 90’s idea of a lively
systems under the point of view of the biology, sound as ecosystem introduces a change in natural history and
cybernetics. Cybernetics studies of frequencies
and spectrums and various ranges of oscillations are using homoeostatic processes
to consider the reaction of gas and air in the spectrum of sound. These
processes connect automatically with the idea of the soundscape as a landscape of materials where micro-materials define
the metaphysic of sound. In that
order, the experimental use of sound in Cybernetics and neuroscience connect
art, science and technology and resolve this idea of noise as a fundamental part on Cybernetics
theories, because cybernetic noise considers and connects with disciplines as communication
engineering, cardiology, mathematics and neuroscience, a part of sound and
vision. The major idea here is to defend too, the processes of inner soundscapes as a response of an outer landscape.
Another supporting
idea about how the system of sound becomes an ecosystem of sound (soundscape
or landscape too) is represented in Music of Changes by John Cage. In John Cage,
indeterminacy is the main feature to
create music, and it brings light to the idea about the nonlinear systems of music. Uncertainty,
fractal, indeterminacy, chaos are main features for music influenced by
oriental system of thought. John Cage opened the possibility to indeterminacy,
a prophetic style in art and music that develop the cutting edge of the scene
in vanguard culture. It takes some references from cut up projects. In its
study of language as a multi-layered element of brain, John Cage describes the
use of different registers of voices those who allow personality and human being
to develop memory and to communicate. These registers are studied for artists
belonging to Beatnik generation such
William Burroughs and Brion Gysin. In their poetics and aesthetics, the Beatnik
generation, Fluxus movement and Conceptual Art, follow orientalism and Zen attitude, producing audio works
resembling inner landscapes, states
of soul, transcendent and immanent inner visions, explaining spacing out phenomena. Nowadays, artists
have a better scientific approach to resolve the problem of the senses, using
methodologies based in atomic physics and neuroscience, solving interconnection
between sound and vision ([iv]).
Finally, it has to be said that a
contribution to these soundscapes, is
the one that Marshall McLuhan offered. His version about the optical cortical
nerve, denominated quiasma, is a cross in between 2 nerves that produces the exchange
between sound and vision and
explains the phenomena of spacing out
as an inner soundscape.
2. Three
Examples of Sonic Landscapes:
Locus
Sonus, Psychogeophysics Summit and Orbitando Satelites.
Here it is
mentioned different supporting examples to illustrate the idea of soundscape as a solution for ecological
systems in public space. First, there is the practice with microphones and
field recording for live streaming. One of the most advanced systems of this
type is Locus Sonus, a pure data
tool for microphones and soundscapes that collaboratively creates a network of
connected profiles worldwide established. Locus
Sonus is a live open microphone network online. Locus Sonus artists work collaboratively curating sound art
exhibitions and producing different events and conferences involved in sound
resources. The project Locus Sonus is
a global open microphone network based in Southern and Central France. Locus Sonus is engaged at all levels,
from hosting a network to develop streamings hardware and promoting research. One
of the last actions has represented more
than 10 sound artists from London (raxil4, hNIL, Luke Jordan, Grant Smith,
Graham Dunning, Robbie Judkins) in an exhibition about wave field recording, amplifications, microphones improvisation,
distortions, radars and telegraphs sounds, signal intrusions and
electromagnetic interferences, soundscapes, warscapes and seascapes, using
filters, feedbacks, echoes and experimental d.i.y. devices. Grant Smith
presented for the occasion a live audio
stream under the Antarctic ice made available by the Alfred Wegener
Institute's PALAOA marine research project. This was distributed in the
exhibition space through two severed communications tubes found on site. Moreover,
Grant Smith organizes SoundCamp, a
daybreak listening event in London, broadcasted in a 24 hour worldwide
transmission, relayed by streamers on the Locus
Sonus network and elsewhere. Reveil/SoundCamp engages with the study of place, nature, and merges
philosophical enquiries about art, ecology,
politics and the use of technology. Reveil/SoundCamp project aspires to be a
fully global collaboration. In London, it is connected with the Centre for Sound
Arts Practice (CRiSAP) at LCC/UAL, and in Belfast with the Sound Arts Research
Centre (SARC). Reveil is catalyzed and coordinated by SoundCamp. Reveil is
interested in Wild soundscapes, the
implications of listening attentively and especially listening live to fragile soundscapes. There is an
intersection with the concerns of bioacoustics
on land and under water, as these involve monitoring, habitat conservation/reconstruction,
and environmental activism. To soundmap demonstrate that the experience to listen to a sound
locally gains a new dimension different than placed elsewhere, the auditorium, for
instance. Reveil is an evolution of field
recording. Bernie Krause has said that most of the locations where he has
captured sound since 1968 are now severely degraded if not actually ‘without
voice’. All these different ways to produce audio works or artworks, offer a
new possibility to understand and interpret reality.
Second, the Psychogeophysics Summit is used to
explain landscape and soundscape. It develops experiments in
interaction with sound as a local
spectral ecosystem. Reading the memory of the landscape, artists give a counterculture radical position of established
policies of art, industries and resources. Following to the definition of Psychogeography, Psychogeophysics Summit introduces to the study of geographical environment, the
consideration of emotions, behaviour and mental states of the citizens and passers-by.
Including geophysics and studies of local spectral ecology, the term Psychogeophysics was first used
explicitly during a research group conducted as part of the Transmediale.10
festival, Berlin in February 2010, entitled Topology
of a Future City. Psychogeophysics
names a new direction in which many artists and researchers have explored
recent history of sound. The first Psychogeophysics
Summit took place in early August 2010 in London, assembling an
international group of artists, researchers and theorists to promote this novel
discipline with a series of public oriented experimental workshops and seminars
investigating various psychophysical fictions in East London. Psychogeophysics borrows techniques
from EVP/ITC (Electronic Voice Phenomena and Instrumental Transcommunication),
classical psychogeography,
thoughtography, amateur radio astronomy, archaeological geophysics, TEMPEST
analysis and environmental steganography. These techniques include: excitation,
intervention and performance, domains and frequencies (earth or skin resistance
or impedance measurement), low and high frequency electromagnetic radiation
detection, all frequencies of sound signal detection. Apparatus and technologies
that are used correspond to VHS, tape recorder, television, magnetometers and
spectrometers, and sometimes electroencephalographs. Supporting Spatial Aesthetics philosophy, Psychogeophysics also contributes
aesthetically and technically to re-mapping,
to archaeological geophysics of urban
locations, to data forensics and hidden emissions, and to geomagnetic phenomena. Among the Psychogeophysics activities and projects such day collective
exploration of spectral phenomena, investigations of non-causality and detection
of anomalies within processes of measurement and observation are underlined.
So, Psychogeophysics authors follow
to describe a non-scientific knowledge based on research and experience. Its
constant influence of landscape,
memory and drift, among
electromagnetic techniques and factors such indeterminacy, uncertainty, refer
to our hearing as a response and transposition of the sensible/metaphor and
metaphysics ([v]).
Finally, it has
to be considered the aero-spatial
practices as part of the landscape
of sounds. Orbitando Satelites was
a workshop conducted by sound artists, engineers, hackers and musicians; the
workshop used geophysics
methodologies and typologies for a quantitative observation of the earth, the sun and lava flows altogether
with its correspondent physical properties. Orbitando Satelites was part of Plataforma0 and took part in LABoral
Gijon. It showed some of the results of a process of investigation begun by
Plataforma Cero in May 2011 with the meeting of a group of artists, investigators
and amateurs dedicated to listening, watching, thinking and imagining
satellites. The aim was to approach and improve the observation and listening
to satellites and its technology, the outer
space features and their poetics, and finally to analyse data captured from
satellites and transcript into sound and images. Among the participants, Alejandro Duque, Joanna Griffin, David Pello, Reni
Hofmueller, Luca Carrubba Husk, Lord Epsylon, Xiu Cueva, Bruno Vianna, Cinthia Mendonça,
Laura Plana, Pedro Soler, Gonzalo Garcia, Pablo Gallo, Victor Mazón, Raquel MP19, Una_Fremen, Ana
Arboleya, Nuria Rodriguez, Cristina Ferrández, Lorena Lozano, Josian Llorente, Aritz Zabaleta. The
Manual Orbitando Satelites [OS]
presents text by text and one by one all of the authors. It is said that since
1990s, the arrival and growth of the Internet facilitated the exchange of
information among Natural Radio hobbyists and eventually made real time solar
and geomagnetic information
available to everyone. During the workshop, the participants developed and
learned from different tools, software and hardware to manage and listen to the
satellites that are already orbiting the earth: 1) Gpredict, a real time satellite tracking program for GNOME, based
on the tracking engine of John Magliacane's excellent satellite tracker Predict
and written by Alexandru Csete, also known as OZ9AEC, a physicist from the
University of Aarhus, working in the European space industry, holder of a CEPT
Cat.1 amateur radio certificate since 1991 ([vi]).
2) PureData, written by Miller
Puckette and the PD community, used by Husk, connected via OSC to Gpredict in
the audio track to the exhibition called Dreaming
Satellites. 3) GNU radio,
developed toolkit that provides the signal processing runtime and processing
blocks to implement software radios using readily available, low-cost external
RF hardware ([vii]).
4) SatTrack3D, written by Makoto
Kamada, Japan ([viii]).
5) FunCUBE Dongle, connects the
antenna reception to GNU radio via USB by AMSAT-UK as part of the FUNcube
satellite project ([ix]).
6) OpenROTOR, built by David Pello
in Plataforma Cero, 2011, an Ionic Satellite Fountain model based in one built
by Bruno Vianna in Plataforma Cero, 2011 ([x]). 7) OSC module for Gpredict, written by
David Pello with contributions from Alejandro Duque and Bruno Vianna as part of
the Orbitando Satelites project 2011 @PlataformaCero, LABoral, it was first
envisioned as a useful bridge to allow experimental uses of data in sound
installations during interactivos10 @medialab-prado 2010 and the module enables
Gpredict to send values out to other programs allowing the control of motors
and other hardware or software via Open Sound Control. All this techniques and
different range of tools, allow artists to capture sounds, intercept
communications and provide more information about the outer space. All was an exercise inside the imperceptible realm of
the waves of radio electric frequencies to
spot and listen to both geosynchronous and low elevation orbiteers. To locate
and observe, like the ornithologist, guided by sound and spectral analysis technologies of the Victorian age, and
given as a result soundscape
captured with a VLF (Very Low Frequency) receiver to allow the listening of
satellites.
3. Dronestrikes
on Saturn
Dronestikes on
Saturn is the audio work resulting from the collaboration in between raxil4 and
hNIL (his Nameless Is Legion). An audio work that uses reverb laden drones with
pedals, sine generators and a four track with loop tapes of some fine
recordings or sonifications of the Saturn radio waves recorded near the
poles of the planet via the Cassini
spacecraft. It is a media ecology
audio work offering an ethical composition and an aesthetical piece for
preservation of the space, the urban space or the outer space, where these
waves have been captured. In this case, preservation laws could develop a
strong policy to facilitate the research for audio work in the conservation of
sound as (eco)system. Here, the Cassini Orbiter Instrument survey and
sniff, analyse and scrutinize. And of course, they take stunning images in
various visible spectra. The 12 science instruments on board the Cassini
spacecraft are seemingly capable of doing it all. Each instrument is designed
to carry out sophisticated scientific studies
of Saturn, from collecting data in multiple regions of the electromagnetic spectrum, to studying dust particles, to characterizing Saturn’s plasma and magnetosphere environment ([xi]).
The instruments gather data for 27 diverse science investigations, providing
scientists with an enormous amount of information on the most beautiful planet
in our Solar System. In between them
Optical Remote Sensing, mounted on
the remote sensing pallet, these instruments study Saturn and its rings and moons in the electromagnetic spectrum. Composite
Infrared Spectrometer (CIRS), Imaging Science Subsystem (ISS), Ultraviolet
Imaging Spectrograph (UVIS), Visible and Infrared Mapping Spectrometer (VIMS).
A part, fields, particles and waves
are studied and analysed through particular instruments to detect the dust, plasma and magnetic fields around
Saturn. While most don’t produce
actual “pictures,” the information they collect is critical to scientists’
understanding of this rich environment. These are the Cassini Plasma
Spectrometer (CAPS), Cosmic Dust Analyzer (CDA), Ion and Neutral Mass
Spectrometer (INMS), Magnetometer (MAG), Magnetospheric Imaging Instrument
(MIMI), Radio and Plasma Wave Science (RPWS), Microwave Remote Sensing. So, using
radio waves, these instruments map atmospheres, determine the mass of
moons, collect data on ring particle size, and unveil the surface of Titan,
with Radar and Radio Science (RSS). In this sense, electronic artist raxil4, Andrew Page, has created an immeasurable
beautiful series of audio work based in Saturn,
and other planets. The series so far have featured a range of soundscapes manipulations. He creates
sounds from field recording and
electronics, sometimes using the radio emissions from planets like Jupiter. His sounds also feature
de-tuned radios, televisions, computers, turntables, CDs and MP3 players, tape
recorders, electronic games, vintage equipment and handmade electronic devices
and sculptural instruments ([xii]). Some examples here: Solo, a white dwarf star
GD358 track ([xiii]),
a live mix of Saturn, the Sun and GD358 ([xiv]), and a new
live version on 3 four tracks featuring 3 new tapes, a second recording of
Saturn, the Diamond Star and Alpha Centauri, as well as the original Saturn
tape, The Sun and GD358 ([xv]).
It has to be
said, that within the last 3 examples, involving Dronestrikes on Saturn, Orbitando
Satellites and Psychogeophysics
Summit, all these are using spectrometer (spectrophotometer, spectrograph or spectroscope)
to measure the unit of light on the electromagnetic spectrum ([xvi]).
And also magnometers, among others
devices, but these both are the common ones and the more important. It is
primordial to use and understand these devices and tools in the creation of
audio work to define nature of soundscape. A part of sound techniques to
capture landscapes, there are many others to capture, like the UAVSAR, the
Uninhabited Aerial Vehicle with Synthetic Aperture Radar, used in image science,
equipped with radars to get images through interferogram techniques. All of these
tools and hardware capture images in polymetric phases detecting changes on
earth with time to show interferometric images. It has to be added, radio waves
detectors, wavelength in airplanes with autopilot for geo-scientific exploration
and remote sensing apparatus ([xvii]).
This versatile NASA equipment of imaging radar system is showcasing its broad
scientific prowess for studying our home planet. More information about tools
is available at NASA ([xviii]).
Fig. 1. Raxil4 –
his Namelessness Is Legion
[ii] LaBelle,
Brandon. Acoustic
Territories: Sound Culture and Everyday Life. Continuum Books, 2010.
[iii] Miles, Barry. William Burroughs, A portrait. London: Virgin Publishing Ltd.,
1992.
[iv] Cage, John. Indeterminacy.
[v] Anonymous. The Psychogeophysics Handbook. London, 2010.
[vi] Gpredict
[vii] GNU Radio
[viii] Satellite Tracker 3D
[ix] FUNcube UK Amateur Radio Educational
Satellite
[x] Vianna, Bruno. Ionic Satellite Fountain. LABoral, 2011.
[xi] NASA, Jet Propulsion
Laboratory, California Institute of Technology, Cassini http://saturn.jpl.nasa.gov/spacecraft/cassiniorbiterinstruments/
[xii] Jackson, Steve. From the sound of Jupiter to old TV’s,
discover the world of raxil4. The
Lincolnshire, 2014.
[xvi] Browning, John. How to work with the spectroscope: a manual of practical manipulation
with spectroscopes of all kinds. London: Browning. 1882
[xvii] NASA Flies Radar
South on Wide-Ranging Scientific Expedition http://www.nasa.gov/home/hqnews/2013/apr/HQ_13-097_Science_Radar_Flights.html