Tiny ear listens to hidden worlds

Tiny ear listens to hidden worlds

Bead on slide, Miles Padgett

Tiny dishes etched on microscope slides act like ear trumpets

A micro-ear could soon help scientists eavesdrop on tiny events just like microscopes make them visible.

Initially, researchers will use it to snoop on cells as they go about their daily business.

It may allow researchers to listen to how a drug disrupts micro-organisms, in the same way as a mechanic might listen to a car’s engine to find a fault.

A team from three UK institutions are building the device, which they hope will become standard lab equipment.

Institutions involved include the Universities of Glasgow and Oxford as well as the National Institute of Medical Research at Mill Hill.

Force feedback

The micro-ear is based upon modifying an established technology that uses laser light to create so-called optical tweezers.These are already used to accurately measure tiny forces.

They work by suspending very small glass or plastic beads in a beam of laser light. Measuring the movement of these beads as they are jostled by tiny objects allows measurements of tiny forces that operate at molecular scales.

"We are now using the sensitivity afforded by the optical tweezer as a very sensitive microphone," said Professor Jon Cooper from the University of Glasgow, who is heading the micro-ear project.

"The optical tweezer can measure or manipulate at piconewton forces," said Professor Cooper. A piconewton is a millionth of the force that a grain of salt exerts when resting on a tabletop.

While many researchers use single beams of laser light to trap single beads, the micro-ear team hopes to use several arranged in a ring that will be able to surround and "listen to" an object of interest.

"We can look at a number of objects and watch them wobble," said Prof Miles Padgett. "A wobbling object is like a diaphragm on a microphone."

HOW TO MEASURE MICRO-ORGANISMS
graphic shows laser beams tracking movement of micro-organism
1. Scientists are using laser beams to help them measure the sounds created by microscopic organisms.
2. A micro-organism, such as an E-coli bacterium, is placed in the centre of a ring of laser beams each of which traps tiny electrically-charged beads. The beads are one or two microns across – that’s 100 times thinner that a human hair.
3. Any sound from the organism will be detected by the beads wobbling and this can be measured by a high-speed camera.


As such, said Professor Padgett, the wobble can be measured and used to turn the wobbles in the fluid surrounding the subject into sound giving an ear to events on the tiniest of scales.

By surrounding an object, said Professor Padgett, it should be easier to work out whether what that object does is the result of its own actions or something else.

A high-speed camera watches the motion of the ring of beads to determine the source of the motion.

Prof Padgett said work on refining the basic elements of what would become the eventual micro-ear was going well.

"We can trap and hold the beads and can connect the output to a speaker so we can hear them vibrating," he said.

In addition, he said, the team use tiny etched dishes, like a Victorian ear trumpet, to help focus the movements in the fluid surrounding an object and make them easier to pick up.

Already the team has been able to listen to Brownian motion – the restless jostling of the atoms and molecules in a fluid.

Drug trials

Once the device is completed, a team led by Dr Richard Berry, a physicist at the University of Oxford, plans to use it to eavesdrop on flagella – the tiny motor that many bacteria such as E. coli use to move themselves around.

"Because this tech is so new and these guys are exploring what’s possible the flagellar motor will be a very good test for the technology," said Dr Berry.

Currently, the movement of flagella are studied by sticking tiny beads to them and watching them whip around with a high-speed camera.

The beads are different to those used in the optical tweezers.

To complicate the process further, scientists must genetically engineer the bacteria to allow them to stick the beads on their tails.

"We have to make them specifically sticky to what we want to stick to them," said Dr Berry. "There’s a biological step which can be very hit and miss."

This also means that the bacteria do not necessarily behave in the same way as natural organisms.

"We work on extremely genetically engineered subjects, nothing like you would find in the world," he said.

E Coli, SPL

The micro-ear makes it possible to listen to a flagella whipping around

The micro-ear might mean it is possible to use wild bacteria and many of them to get a much better understanding of what they do.

If the work with bacteria is successful the team is also planning to look at other micro-organisms.

One candidate could be the human trypanosome parasite which moves in the blood using a different sort of flagellar motor.

The parasite is behind sleeping sickness that affects up to 500,000 people a year in sub-Saharan Africa.

By listening to this motor, it may be possible to better understand how it works and ultimately investigate the action of new medicines that might stop its motor.

"Its truly exploratory in that we expect and hope we will hear something interesting but we really don’t know," said Dr Berry.

 

original post: http://news.bbc.co.uk/2/hi/technology/8529232.stm

Organised Sound: An International Journal of Music and Technology

Organised Sound: An International Journal of Music and Technology

 
Call for submissions

Volume 16, Number 2
 
Issue thematic title: Performance Ecosystems
 
Date of Publication: August 2011
Publishers: Cambridge University Press
 
Issue co-ordinator: Simon Waters (s.waters@uea.ac.uk)

 
The distinctions between a performer, an instrument, and an environment seem at first glance self evident, but plenty of evidence exists that the relationships between them can be complex and dynamic. An equally tempered Boehm clarinet affords, when ‘re-programmed’ by the mindset of a South Indian performer, entirely idiomatic interval structures and articulations for another highly developed musical tradition. A musical instrument is not, or at least not only, a physical object, but has properties which emerge through use or expectation (programming). A systemic understanding of performance activity might usefully enhance our understanding of the interpenetrations and feedback systems which exist between apparently disparate component parts. As we move into a musical world where we can intervene digitally in the performance ecosystem we open up possibilities for new formulations of and relationships between the ‘components’, whether by accessing ‘distant’ or virtual audiences/environments, or by combining physical and virtual elements in an unforeseen manner.
 
What happens when practitioners regard the context for the performance of their work as co-extensive with or even constitutive of that work? How can an understanding of the voice as an embodied performance tool help to sophisticate our understanding of the complex interpenetrations between a performer and ostensibly ‘separate’ instruments? How does an ecological approach to perception (Gibson, Windsor, Clarke) contribute to our understanding of what happens in highly technologised musical practices? How might performance systems that occupy both real and virtual space – hybrids of the physical and virtual – provoke shifts in our understanding of public and private action?
Can thinking of performance as an ecosystem, or the importing of other models from biology, help resolve the difficulties of making music with multiple laptops?  The power of ecological or ecosystemic metaphors for performance lies in the fact that they embrace adaptive, emergent or dynamical qualities. How might we go about designing such principles into performance interfaces? What would it feel like to perform with controllers whose behaviour evolves over time, or whose characteristics are ‘sticky’ or non-linear?
 
Music has always drawn on other disciplines and ways of modelling the world for metaphors which expand its resources both sonically, as organised sound, and socially, as human activity. This issue of Organised Sound invites submissions from both theorists and practitioners for whom ecosystemic or biological models form a provocative or productive point of departure for any aspect of their work.
 
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
 
Deadline for submissions is 1 November 2010. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”.  Supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue 16/3 as well on the journal’s website.

 

 
SUBMISSION DEADLINE: 1 November 2010
 
SUBMISSION FORMAT
 
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
 
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
 
Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.
 
Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files) should be submitted to:
 
              Prof. Leigh Landy
              Organised Sound
               Clephan Building
               De Montfort University
              Leicester LE1 9BH, UK.
 
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary Simoni
 
=====

CFP Symposion on Music/Sonic Art, Baden Baden, August 2010

International Symposium on Music/Sonic Art

In conjunction with InterSymp 2010:

22nd International Conference on Systems Research, Informatics and Cybernetics

August 2-6, 2010

Markgraf-Ludwig Gymnasium, Hardstrasse 2, Baden-Baden, Germany

CALL FOR PAPERS:

We are pleased to announce the International Symposium on Music/Sonic Art: Practices and Theories, an interdisciplinary two-day event to be held in Baden-Baden, Germany. The provisional dates of the Symposium are August 2-3 in order that participants can also attend other symposia such as: the 8th Special Focus Symposium on Art and Science, the 3rd Symposium on Systems Research in Arts and Humanities and Comprovisations: Improvisation Systems in Performing Arts and Technologies. For further details on all these symposia please see: www.iias.edu.

Proposals for sessions and individual papers for the International Symposium on Music/Sonic Art: Practices and Theories are invited from academics, practitioners and post-graduate students of diverse fields of investigation, according to one of the following formats: academic research paper (including research in progress), report on practice-based work or educational programmes. (Delegates wishing to present performances are advised to consult the call for papers of symposia listed above.) All proposals will be judged based on their scholarly quality, originality and potential for further discourse.

THEME and TOPICS:

 
The aim will be advancing interdisciplinary investigations between the domains of music, architecture, urban and industrial design, dance, performance, theatre, digital media and visual arts.

The premise of this symposium is that musicology (defined in its broadest sense) is intrinsically interdisciplinary. Music includes many theoretical positions as well as cultural, social practices: contemporary musicology reflects this diversity. There are three distinct (though related) themes to the International Symposium on Music/Sonic Art: Practices and Theories. Firstly, the organizers welcome presentations in ‘traditional’ subject areas such as historical/critical musicology, performance studies, aesthetics, analysis and ethnomusicology. What are the qualitative differences for performers in a rehearsal and the final concert? What metaphors (if any) do performers use to explain their processes? What strategies are appropriate to an analysis of ‘open’ forms? And can changes in style from Classical to Romantic and post-Romantic be considered seamless transitions or ruptures in musical language? Secondly, as the symposium’s title suggests, we hope to encourage the submission of papers investigating relationships (and possible tensions) between music and sonic/sound art. For example, to what extent can the practices and theories of music inform sonic art? Is it more beneficial for sonic art to draw on the aesthetics of gallery-based fine art practice? How does the role of technology manifest itself in both music and sonic art? Can music be regarded merely as a subset of sonic art? The role of the performer, expression, embodiment, the nature of the instrument, the status of the score… these are vitally important shared concerns. Consequently, we anticipate many papers will examine how music and sonic art corroborate or contradict each other’s practices and theories. The results will provide many mutually beneficial insights. Thirdly, presentations are also invited from scholars who are researching the connections between music and disciplines such as architecture, design, painting, theatre and literature. Are the blank canvases of Rauschenberg comparable to Cage’s ‘4:33’? Are the constraints employed by literary groups such as OuLiPo similar to the apparent restrictions in serial techniques? Finally, are proportions evident in Baroque architecture consciously applied in music of the same period? These are, therefore, the three themes of the symposium. However, a paper dealing with any subject area that is within the broad remit of the International Symposium on Music/Sonic Art: Practices and Theories will be welcomed.
Proposals submitted for review should include:

title of paper;
abstract, in English, of approximately 300 words;
3 to 5 keywords, representative of theme and concepts addressed;
short paragraph with author(s)’s biography, briefly stating the field of specialisation or areas of interest and academic/professional affiliation (if any).
 
Paper Proposals/Abstracts should be submitted as soon as possible but no later than March 30, 2010. Notification of Acceptance and a Paper Template will be sent to authors by April 9, 2010. As in previous years, those selected will be scheduled for a 30-minute presentation plus 15-minute discussion, and will be invited to submit the camera-ready full paper of approximately 2,500 words including references (not to exceed 5 single-spaced typed pages), by no later than May 9, 2010. Papers submitted later than this date cannot be included in the conference proceedings. 
The proceedings will be published as the Music/Sonic Art Symposium Proceedings – Volume I of the International Institute for Advanced Studies in Systems Research and Cybernetics, and will be available to all registered participants at the time of the Conference. Further details on Submission Guidelines, the Copyright Transfer Form, and the Conference Registration Form are available at the IIAS home page: www.iias.edu. 

Please note that the early registration fee is 345.00 Euros (per one Conference participant) if paid on or before May 1, 2010 and 395.00 Euros thereafter: this includes participation in all Symposia of the IIAS InterSymp 2010 Conference, the festive reception, the symposium booklets and the Music/Sonic Art Symposium Proceedings – Volume I. Details for payment can be found on the IIAS home page: www.iias.edu. See: ‘Registration Forms’, no.5 ‘Registration Payment Instructions’.
Paper committee: Prof. Dr. Mine Dogantan-Dack (Middlesex University, UK); Prof. Clarence Barlow (University of California, Santa Barbara, USA); Holger Zschenderlein (University of Brighton, UK); Fiorenzo Palermo (University of Middlesex, UK); Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex University, UK)

SUMMARY OF IMPORTANT DATES:

 
Please note this summary of the Symposium schedule:

    MARCH 30, 2010  Abstract due

    APRIL 9, 20010        Notice of Acceptance

    MAY 1, 2010            Conference Registration and fees due

    MAY 9, 2010  Final paper due

    AUGUST 2-6, 2010 InterSymp 2010 Conference in Baden-Baden
 

As contributions will be peer-reviewed, please submit proposals and full papers electronically, as e-mail attachments in MS Word format, to the symposium’s chairs’ email address m.dack@mdx.ac.uk and j.dack@mdx.ac.uk according to the following guidelines:

For abstracts:

one email with the subject title “MuSA symposium – abstract”, containing a word file as an attachment with the title of paper, keywords and abstract only. For the process of blind peer reviewing, please do not include your name or affiliation in this attachment.
AND

a second email entitled “MuSA symposium – author”, containing a word file as an attachment with the author(s)’s name, title of paper, institution affiliation (if any) and short biography.
 
Please note that all emails should also be Cc: to the InterSymp 2010 Conference Chairman

Prof. George E. Lasker (lasker@uwindsor.ca). 
Information regarding the International Symposium on Music/Sonic Art: Practices and Theories is available on the IIAS webpage (www.iias.edu). Furthermore, please do not hesitate to send any enquires to the Symposium Chairs:
Prof. Dr. Mine Dogantan Dack (Music Department, Middlesex University) – m.dack@mdx.ac.uk;

Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex University) – j.dack@mdx.ac.uk;