Listen: Sound of Electromagnetic Energy Moving Between Saturn, Enceladus NASA | JPL-Caltech | Cassini | 2018 Jul 09
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Sounds of Saturn: Hear Radio Emissions of the Planet and Its Moon Enceladus Credit: NASA/JPL-Caltech/University of Iowa
New research from NASA’s Cassini spacecraft’s up-close Grand Finale orbits shows a surprisingly powerful and dynamic interaction of plasma waves moving from Saturn to its rings and its moon Enceladus. The observations show for the first time that the waves travel on magnetic field lines connecting Saturn directly to Enceladus. The field lines are like an electrical circuit between the two bodies, with energy flowing back and forth.
Researchers converted the recording of plasma waves into a “whooshing” audio file that we can hear -- in the same way a radio translates electromagnetic waves into music. In other words, Cassini detected electromagnetic waves in the audio frequency range -- and on the ground, we can amplify and play those signals through a speaker. The recording time was compressed from 16 minutes to 28.5 seconds.
Much like air or water, plasma (the fourth state of matter) generates waves to carry energy. The Radio Plasma Wave Science (RPWS) instrument on board NASA’s Cassini spacecraft recorded intense plasma waves during one of its closest encounters to Saturn. ...
Enceladus Auroral Hiss Emissions During Cassini's Grand Finale - A. H. Sulaiman et al
<<Forbidden Planet's innovative electronic music score, credited as "electronic tonalities", partly to avoid having to pay any of the film industry music guild fees, was composed by Bebe and Louis Barron. MGM producer Dore Schary discovered the couple quite by chance at a beatnik nightclub in Greenwich Village while on a family Christmas visit to New York City; Schary hired them on the spot to compose his film's musical score. While the theremin (which was not used in Forbidden Planet) had been used on the soundtrack of Alfred Hitchcock's Spellbound (1945), the Barrons' electronic composition is credited with being the first completely electronic film score; their soundtrack preceded the invention of the Moog synthesizer by eight years (1964).
Using ideas and procedures from the book Cybernetics: Or Control and Communication in the Animal and the Machine (1948) by the mathematician and electrical engineer Norbert Wiener, Louis Barron constructed his own electronic circuits that he used to generate the score's "bleeps, blurps, whirs, whines, throbs, hums, and screeches". Most of these sounds were generated using an electronic circuit called a "ring modulator". After recording the basic sounds, the Barrons further manipulated the sounds by adding other effects, such as reverberation and delay, and reversing or changing the speeds of certain sounds.
The Barrons finally released their soundtrack in 1976 as an LP album for the film's 20th anniversary; it was on their very own Planet Records label (later changed to Small Planet Records and distributed by GNP Crescendo Records).>>