An honest question from an ignorant me.

Empiricism is the imperialistic prerogative…at least as my mind marks it, and, it does so pseudo-empirically.

But, my concern is: if the observation of an object of inquiry actually changes the behavior of the object itself, what can be said for the metaphysical methodological underpinnings of ‘social science’?

The most basic of examples may be found in the early writings of Margaret Mead. The locals sang a different tune to her than the true song by which they lived.

Loud Speakers: Watch Colors & Read Sound! “Beck – Colors” on YouTube

No rights owned. Paying homage.

All the colors.

Beck writes such innocuously infectious pop jams.

What is pop music, anyway?

Genres, huh?

Heard thru headphones Aka cans (big earmuff-lookin’ ones. Obviously.), this song is and is not the same song when it is heard through speakers.


Trying to learn about sound and light these days.

Speakers.  My parents had two floor standing ones that were about three feet tall.

They made sound.  Headphones make sounds. My portable CD player/Cassette Tape Player (deck?)/Radio made sounds.  I also took an entire battalion of d batteries if you wanted to “go mobile.”

“A boombox, in its most basic form, is composed of two or more loudspeakers, an amplifier, a radio tuner, and a cassette and/or CD player component, all housed in a single plastic or metal case with a handle for portability. Most units can be powered by AC or DC cables in addition to batteries.”

Wikipedia (per my March 01, 2019 visit) this page was last edited on 24 February 2019, at 20:24 (UTC).

Citations, huh

Hey, how they do that?

 


 

How headphones work = How speakers work = x

x = using magnetism to turn electrical energy into sound.

Speakers = loudspeakers = electric sound-making machines.

Loudspeakers attach to tiny, earbud headphones (cased inside ear muffs or earbud headphones) and make sound we hear.

Loudspeakers play back.

Loudspeakers turn electricity into sound.

Es_spk 300px-DynElement


Bosch_36W_column_loudspeaker_polar_pattern

Polar plots of a four-driver industrial columnar public address loudspeaker taken at six frequencies. Note how the pattern is nearly omnidirectional at low frequencies, converging to a wide fan-shaped pattern at 1 kHz, then separating into lobes and getting weaker at higher frequencies[50] (Wikipedia)


Stellar site! www.linkwitzlab

Testing a stereo system for accuracy

A sequence of tests is presented below that should reveal to what degree a given stereo system achieves the potential that is inherent in the 2-loudspeaker reproduction format. (See also the more recent Accuracy, spatial distortion and plausibility of the auditory scene article)

A – Pink Noise

Pink noise is a random process with a power spectrum that decreases at a 10 dB/decade or 3 dB/octave rate with increasing frequency. When measured with a 1/3rd octave analyzer, or constant Q filter bank, it has a flat frequency response. Since the critical bandwidth in hearing is approximately 1/3rd octave wide, pink noise tends to give an equal representation of all frequencies in the audio spectrum, from lows to highs. Thus it would seem to be a good auditory test signal, except that we do not have a reference for what it should sound like in an absolute sense. This limits the usefulness of pink noise to comparison tests of A versus B. Pink noise can reveal small physical differences between two sound sources, but it can be difficult to find the cause for those differences or to predict their consequences. Pink noise can drive you nuts, so be careful. Still, pink noise will point to flaws and errors in a sound system.

The tests use various 5 second combinations of L and R  streams of uncorrelated pink noise. What I call Stereo here is actually fuzzy  stereo and has no solid image, but is spatial like a cloud. In Mono the left and right tracks are identical. Left or Right means that there is sound only in one or the other track. 

Download and save pink-alternating3.wav (12 MB). Then burn the file to a CD-R for convenient access and repetition of the 1 minute  sound file.

1    Stereo = L & R 8    Mono
2    Left = L  (R = 0) 9    Stereo
3    Right = R  (L = 0) 10    Left
4    Mono = L = R 11    Right
5    Stereo 12    Mono
6    Mono 13    3 Bursts, 10 cycles @ 3 kHz, -3 dB FS
7    Stereo 14    3 Bursts, 10 cycles @ 300 Hz, -3 dB FS

 

Labyrinthal Laboratory Conditionals

Knecht leapt years ago into the black water of the river.

A leap of faith made in the face of a numinous bemusement.

A mæstro professing the art of conduction.


Cantos ; stanzas ; quatrains ; sections ; headings ; chapters ;


The function of any value such as x wilt result in a set of potential solutions.

f(x) : {set}, {set of the set}

yields Sentence G.

Godel’s lyric.

Taken from a song called Settes.


Cantos: sections dividing long poems.

– ORIGIN C16: from Ital., lit. ‘song’, from L. cantus


Dante sang poems in one hundred cantos.

The infernal first album of nine is the only one that hit the record charts.

Bemusing that he still writes lyrics and songs after his exile from Florence.

The courters and patrons of knightly chivalry frenzied in feigned, immodest outrage at the song of attack (quite poorly executed too, it is said) that

he played his Lady.

But he keeps on playing.

A fine equestrian he would have made.

Socrates and his diatribe will be with Dante shortly

Cursing Odsyyeus again, malifacent Man in Black: agent of injustice to Ajax.

The fellow-temple servants redeemed Parceval just yesterday.


Maestro Virgil’s rock n’ rolling opera

Nine lines feed nine recorders.

Eight channels receive live feed.

Three mixers temper.

A music master architects.

The 1 audits the confluence of the Take Stream.

The 1 who will stop the band,

called And the Band Played On,
only long enough to

allow them to listen.

Players eager to hear themselves.

Impetuous.

Feedback looping.

The impetus of the 1.

The effect of showing the parts their whole.


Any system aware that is under observation is changed by the very act of being observed.

An axiom accepted and admitted to be a theoretical, not practical, concern.

In theory the results may be nullified.

The axiom is ad hoc. Improperly derived.

Invalid even if accurate.

As Wittgenstein’s Mistress, it behooves me to ask this

Question for the Vienna Circle:

Now that you have observed that the act of observation changes the observed,

Do you ever worry for the assured changes in your method, institutions, experiments, results, or selves?

As you observe the knowledge of this observation affecting your observations and that which you observe?

Or is that just another theoretical problem too?

~

Just an observation from this lovesome dummy.

If these Rings Spoke & Salmon Sang Electric

The sun begins to make cameo appearances.

The trail crew came through.

Cutting back.

Below is tribute to felled ones.

Ready to be reabsorbed into the ecosystem.

No waste.


The water rose.

See the fish (salmon) ladder flow from both sides

Space and n-touples

You came from when. Not where.

You are what you is.

Not what you have been.

History’s circus tent contains three rings:

x (the lengthy ring)

y (the girthy width ring)

z (the ring of deeply depth)

From three dimensions we derive volume.

Adding the presence of an audience under the big top

yields tesseracts.

Formed by the eight lines connecting the verticies of two cubes:

representing a single dimension in the unseen fourth dimension.

Our vectors show us single spots as though they naturally situate in 4D space.

But without the conscious observer, what connects one cube to another?

Four dimensions.


Precense

1. the fact or condition of being present :

the state of being in one place and not elsewhere :

the condition of being within sight or call, at hand, or in a place being thought of

the fact of being in company, attendance, or association :

the state of being in front of or in the same place as someone or something

2. the part of space within one’s ken, call, or influence :

the vicinity of or the area immediately near one:

the place in front of or around a person

7. something (as a spirit, being, or influence) felt or believed to be present