This reminds me of the sound of the aurora borealis. It’s usually not audible and until recently there was disagreement over whether the sounds existed at all. https://www.nationalgeographic.com/news/2016/06/auroras-sounds-noises-explained-earth-space-astronomy/
I heard it only once outside Fairbanks in '91. The whole sky lit up. It was incredibly cold and the air was perfectly still. The sound and light were all around and inside me in a hemisphere. There’s certainly no technology yet that could reproduce that experience!

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Sounds in space. At this level that is a bit of a paradoxical statement because sound is, arguably, a phenomenon in time and space. But yeah I mean empty space, vacuum – space without medium. An example of this sound is given in the intro of episode Bringing greater clarity to the laws of space of Future Tense, the sound of an exploding satellite.

something that comes to mind are filter equations - i don’t know if there’s a mathematical way to just like take any curve and use that curve as a frequency response

In the frequency domain (using variable \omega for frequency), say the input-output relationship of a linear time-invariant (LTI) filter for any frequency \omega \in \mathbb{R} is given by the product

Y(\omega) = H(\omega) X(\omega)

where Y(\omega) is the output signal, X(\omega) is the input signal, and H(\omega) is the frequency response or Fourier domain transfer function of the filter.

The convolution theorem says that if x, y \in L^1 † then

y(t) = \mathcal{F}^{-1}\{H(\omega)\} \ast x(t)

where \mathcal{F}^{-1} is the inverse Fourier transform and \ast is the convolution operator, making it possible to compute a time-domain output of the filter for any L^1 input x.

This all means basically that you can use lots of curves H(\omega) as a frequency response, with the condition for inverse-Fourier-transformability being something like “absolute area under the curve is finite”. So certainly not “any curve” generally speaking, but in practice you are most likely working with digital signals with some finite sampling density and precision. That changes all the math some but the core idea is basically the same: take an inverse Fourier transform of the desired frequency response, convolve it with your input. When working with digital signals this is generally called finite impulse response filter design.

If one is equating “sounds” with, say, "bounded continuous functions \mathbb{R} \to \mathbb{R}", then maybe it is interesting to explore what classes of these functions are not representable in such-and-such basis, e.g. Fourier, Laplace, various wavelets, … Or maybe “bounded continuous” is already too restrictive?


† A function f: \mathbb{R} \to \mathbb{R} belongs to the space L^1 if \int_{-\infty}^{\infty} |f(t)| dt < \infty.

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i posted that half-hoping i was wrong and someone would correct me : ) i wonder how many interesting filters are still “impossible” in terms of current computing capabilities - but also this is a good reminder of how many synthesis possibilities still feel unexplored

i thought this was interesting as far as using what is normally filtered out for sound design. i know this isn’t groundbreaking in the field of experimental music, but it’s pretty cool that such a successful filmmaker is experimenting in this way

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I wonder the if the air the sound was travelling through could somehow be so disturbed that a sound wave doubling back on itself made sense, ie. the ‘waves’ reach your ear in the wrong order.

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Unrelated but makes me think of Rotary woofers - sub bass speakers which are basically a fan with speakers for blades to move air at frequencies below 20 Hz

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