Neural Network Linear I / Soundwire / server farm

12/22/2019

For example if we are building for hearing impaired individuals or perhaps weak impairment in what visualizing sound in tread how supposedly that inaudible system become a friendly reminder of repaired function when invisible data will be covering over the entire cities of globally from speech generators to human vibrations and of course the mechanical process of sound wall within the verticality of our cities.

[Detection threshold of a periodic phase shift in music sound

R. Nishimura, M. Suzuki and Y. Suzuki

Research Institute of Electrical Communication, Tohoku University, 2-1-1 Katahira, Aoba-ku, Sendai, Japan

Ability of the human auditory system to detect periodical phase change in musical sound was examined. Results of experiments based

on the A-X-B paradigm showed that the human auditory system cannot detect musical sound change if the cycle period of phase

change is lower than about a few hundred Hz.]

Towards the reasonable dimension of keeping an virtual state of flux, we cannot allow sound to be muted and only looking for investment that has no gains or return of investment. But only as repairman can do in the repairing for soundwall or treatment in audio treads. There are sound tactical design within the environment when sensitivity meets construction, per sa the focus in towards HOW WE PRODUCE SOUND. PRODUCTION IN SOUND has to be an input and output function, intake of air and output of sound, for a...'

localization of air intake of silent air purifier for example FOG and air pollution will generate water and carbon dioxide molecules/nano particules. Sound in design as often as a by product of intake in non-reuseble or collection of sounds and that in sense generate a vibro either by chance or via a responsive design of mannerism in reproduction in sound visualization. Although we have no chance of blocking the sound wall from the overall travels in the vertically in format and within a landscape, and for the most diverse soundscape is coming from all the walls within the building blocks of machines of living creatures. When you apply the use of mechanical reproduction ideas towards useless sound tactics/fractions of WHITENOISE a psychological statement is associated with memories and moods. FOCUS on verticality and localization of the grassroots' lost in translations has meaning both information and data. This focus are scale towards sound that has many attributes, for example within the sociological production of older architectures the sound tension is a visual idea without analytically designing natural homes for low rise housing as visual concept is more interesting and without lost in translations with lost of complex ideas.

Links to the documents::

https://www.newtek.com/solutions/advanced-ip-workflow/

https://vvvv.org/documentation/protocols#osc

https://en.wikipedia.org/wiki/Sound_pressure

The structure of understand responsive focus is far too diverse than the intensive process of the immediate recognition of the creativity, by an order of know those non-linear strings or calculations are far too predictable that we might not be able to contain the speed of random function in an con€volution and theoreticians  between forms of architecture and N:LS

The kind of repairs maybe necessary in the design of examples in disk(formats)

And system partitions(formations)

Either has network package(form)

 

Impresso statements

1. Dandrel, Louis. The Voice of Things, in Industrial

Design, Reflection of the Century, Ed. by Jocelyn

de Noblet, Flammarion/PCI, Paris, 1993.

2. Schaeffer, P. Traité des objets musicaux. Paris,

Seuil, 1966.

3. Gordon, J W. Perception of attack transients in

musical tones, PhD Thesis, Stanford University,

1984.

4. De Poli, Piccialli et Roads (Eds.) Representations

of Music Signals. Boston, MIT Press, 1991.

5. Schafer, R. M. The new soundscape. Vienna:

Universal Edition, 1969.

6. Cogan, R., Escot, P. Sonic design: The nature of

sound and music. Englewood Cliffs, NJ: Prentice-

Hall, 1976.

 Douglas Richard Hofstadter is an American professor of cognitive science and the first who proposed to connect proteins and music   He found that the more evolved an organism is, the more complicated is the music. The straightforward approach used in [2] is to transfer directly the DNA code to notes. In this case, the music is based on four notes only, corresponding to the four nucleotide bases: adenine (A), cytosine (C), guanine (G) and thymine (T).