http://www.trianglerouge.be/mosquito/index.php

Los jóvenes no son ni parásitos ni perjudiciales para nuestra sociedad

La presente petición tiene el objetivo claro y firme de abogar por la prohibición, en Bélgica y en toda la Unión Europea, del sistema anti-jóvenes denominado “Mosquito”. Estos dispositivos, comercializados por una empresa británica, tienen la función de alejar a los adolescentes indeseables a través de la emisión de un ruido estridente que sólo los oídos de los más jóvenes pueden captar (según publica la edición del periódico Le Soir del martes del 4 de marzo del 2008, 3.500 de estos dispositivos habrían sido ya instalados en Gran Bretaña!).

Try it your self >>

Prensa >>

La asbl (sociedad sin ánimo de lucro) “Territorios de la Memoria, centro de educación para la tolerancia y la resistencia” afirma que sólo el hecho de comercializar este aparato ‘repelente de jóvenes’ es un gesto digno de las ideas más fascistas y cínicas donde las haya.

Una sociedad que tiene miedo de sus propios jóvenes hasta el punto de autorizar la tortura física y mental es una sociedad neurótica, rígida y suicida. Más allá de cualquier cuestión técnica sobre el supuesto “no perjuicio” a la salud pública, el sistema “Mosquito” es pura y llanamente contrario a los derechos humanos más básicos y fundamentales; simplemente no podemos aceptarlo!

En respuesta a la delincuencia, en especial de los jóvenes, sólo cabe una verdadera política de educación y de acompañamiento.

Construyamos el futuro, no perdamos NUNCA la fe en los jóvenes!

You can also download the petition (paper version) in order to spread it >> (.pdf 158Ko)

Wear this pin, symbol of the members of the resistance
and political prisoners in the Nazi labour camps,
in order to fight against all right extremist thought

Campaign : Triangle Rouge

LINK A TEXTO ORIGINAL

Literal: (del Consejo nacional para la Cultura y las Artes, México)

Estudio acústica prehispánica
REPRODUCEN SONIDO DEL SILBATO DE LA MUERTE

*** A partir del fragmento de un sonador de viento, hallado por el INAH, el investigador Roberto Velázquez reproduce el sonido de ese instrumento

*** Conocido como silbato de la muerte estaba asociado a las ceremonias mortuorias entre los mexicas y mayas

La arqueología en México comienza a tener sonido. Mediante un análisis científico de los sonadores de viento y generadores de ruido de la época prehispánica se obtuvieron nuevos datos que profundizan sobre su función sonora y se reprodujo su acústica.

Se trata de una investigación generada a partir del hallazgo de un fragmento de sonador de viento o “silbato de la muerte”, proveniente del antes llamado Cerro Mazatépetl, hoy Cerro del Judío, donde el Instituto Nacional de Antropología e Historia (INAH) desarrolla exploraciones del occidente de la Cuenca de México, encabezadas por el doctor Francisco Rivas.

La investigación sobre arqueología sonora, a cargo del ingeniero Roberto Velázquez Cabrera, —quien desde hace una década se dedica al estudio de artefactos sonoros—, comprendió el análisis, en 2006, del fragmento del generador de ruido hecho en barro, que se ha asociado a la muerte y con rituales del inframundo, porque presenta como decoración el rostro de una calavera que cubre el frente de su cámara de caos.

“A menudo, los estudios de las culturas antiguas observan el pasado en silencio, como si nuestros antepasados y nosotros mismos fuéramos sordos, pero no es posible imaginar ninguna de sus actividades importantes en silencio, ya que siempre utilizaban sus sonidos”.

“Los artefactos sonoros eran considerados sagrados, fueron muy usados y apreciados en todos los niveles de las sociedades antiguas, para actividades religiosas, militares y civiles”, apuntó Velázquez Cabrera.

Durante su participación como conferencista en las IV Jornadas Permanentes de Arqueología, que se desarrollan el último viernes de cada mes en el Museo del Templo Mayor, el investigador explicó que, por definición, los silbatos son instrumentos que producen un sólo sonido. Desde el punto de vista musical, se consideran los más simples, porque producen una sola nota.

“Algunos los desprecian porque los consideran juguetes, ya que así se usaban en las culturas medievales de Europa. La realidad indica que los silbatos mesoamericanos son más complejos de lo que se piensa; existían en una gran diversidad y tenían muchos otros usos”, abundó.

Diversos sonadores se mencionan en las crónicas y aparecen en la iconografía, pero de la gran mayoría se perdió su designación original durante la Conquista y la Colonia prehispánica. No obstante, entre los artefactos de viento que se han recuperado destacan los aerófonos globulares y tubulares, sencillos y múltiples, las trompetas y principalmente los generadores de ruido, que representan los objetos lapidarios antiguos que se han encontrado en mayor cantidad.

Utilizados desde el Preclásico hasta el Posclásico –400 a. C a 1300 d.C-, en diversos momentos de la vida cotidiana de las culturas prehispánicas, los sonadores o silbatos que tienen un rostro de calavera o de tecolote, se han vinculado a ceremonias mortuorias practicadas por los mexicas y mayas, aunque poco se ha estudiado hasta el momento.

A pesar de estar incompleto, el fragmento encontrado en el Mazatépetl, permitió ahondar sobre la forma en que fue construido, porque su mecanismo sonoro está intacto. “Además, todavía genera los sonidos de su función sustantiva, como en el pasado, lo que facilitó su examen formal”, destacó el investigador.

Durante su conferencia titulada “Un estudio de arqueología sonora, silbato de la muerte”; Velázquez Cabrera detalló que el caso analizado ha permitido conocer a detalle aspectos sobre la morfología, construcción y sonidos emitidos por los antiguos generadores de ruido hechos con barro.

Precisó que el mecanismo sonoro de los también llamados aerófonos de muelle, se estimula con aire inyectado por el orificio de un conducto que pasa a la cámara de caos, y de ahí a una cámara semicircular sin salida, lo que hace que el soplo regrese y choque con el que entra, generando una dinámica turbulenta compleja que produce el singular ruido.

Asimismo, mediante el uso de técnicas especiales, como las de dinámica de ondas, espectrales, acústica, fisiológico-auditivo, organológicas, constructivas, experimentales y funcionales, entre otras, se ha profundizado sobre otro tipo de usos que pudieron tener estos objetos entre las culturas prehispánicas.

“Los silbatos han sido importantes, debido a su poco peso y tamaño, su portabilidad, su alta potencia percibida y su alcance sonoro (de 300 a 500 metros); por la altura de sus sonidos, ya que la mayoría generan señales con frecuencias fundamentales dentro del rango de máxima sensibilidad humana y de varios animales como los pájaros”.

“Por ello, estos instrumentos son excelentes para aplicaciones de comunicaciones en clave o señales que pudieron haber sido usados en las actividades militares, incluso como armas”, consideró el ingeniero Velázquez Cabrera, al referir que además los silbatos pueden generar efectos especiales en el cerebro.

Indicó que con base en estudios físico-auditivos, se ha determinado que estos instrumentos prehispánicos estimulan la corteza cerebral. “Si se tocan dos silbatos de la muerte simultáneamente, se producen batimentos infrasónicos complejos que generan estados de alterados de conciencia; sicodélicos y alucinógenos”, comentó.

“Por ejemplo, un silbato grande puede generar sonidos dañinos o batimentos infrasónicos que pueden tener efectos negativos en la salud, o, en el caso contrario pueden contribuir a la salud física y mental de las personas que los perciben”,

Aseveró que el estudio sobre el funcionamiento de los artefactos sonoros prehispánicos, no debe abordarse desde el punto de vista de la música occidental, ya que estos objetos además de ser manufacturados en piedra y barro, también fueron hechos de materiales perecederos como cáscaras duras de frutos o semillas, hueso, carrizo y caracoles marinos, es decir, carecen de melodías y ritmos.

“Algunos aparecen representados en la iconografía, como en los murales de Bonampak, donde sobresalen dos trompetas que por la forma en que son sostenidas por los ejecutantes, se cree que fueron hechos de bule o guaje”, consideró.

El investigador añadió que entre la diversidad de sonadores que se han encontrado destacan los que presentan decoraciones con forma de animales, que simulan sus sonidos. “Las civilizaciones mesoamericanas tenían un contacto cercano con la naturaleza y lo representaban en sus diversas manifestaciones culturales”, concluyó.

“Año de la Educación Física y el Deporte”

Instituto Nacional de Antropología e Historia. Foto:Héctor Montaño

Instituto Nacional de Antropología e Historia. Foto:Héctor Montaño

CLICK SOBRE LA FOTO PARA AMPLIAR TAMAÑO

http://www.inferno.se/
Press Articles about this device
DOWNLOAD INSTALL GUIDE FOR INFERNO

Literal: (from Wired Blog)

I Was a Sonic Blaster Guinea Pig
By Sharon Weinberger, February 13, 2008

Last week, I was sitting in a hotel bar in Jerusalem when a fellow passenger on my tour told me there was a guy with us selling a supposedly less-lethal weapon.

“It works with sound frequencies,” he said. “It’ll make you a sick.”

A puke ray? An honest-to-God puke ray? Right here in Jerusalem?

Well, more like a sonic blaster. Dr. Maurice Goldman, a retired dentist, is the U.S. managing director for Inferno, a line of products that markets itself as a “sound barrier.” The primary effect of the device, which sounds like a loud siren, is to force people to leave the protected area, he says. However, if the intruder doesn’t leave immediately, Inferno’s effects include “vertigo, nausea, and pain in the chest.”

The unit is made in Sweden, but Dr. Goldman has already sold a couple units to U.S. Special Operations Command, and he’s hoping soon to close a contract with the U.S. State Department, which would use the device in embassies. He also offered to let me try it out.

My old rule was: never volunteer to to be a test subject for a less-lethal weapon (or a lethal one for that matter). Life is short enough as it is, and my hearing and vision are important to me. But since breaking that rule over the summer with the “pain ray,” the Pentagon’s Active Denial System, I thought, well, why not?

Two days later, we sat in a hotel office, with Dr. Goldman (pictured above), holding the device. The version of Inferno he was demonstrating looked a bit like a long, slim speaker. You can’t take a pair of nail scissors on a plane these days, but Dr. Goldman has traveled around the world with Inferno and has had few, if any problems, boarding aircraft.

First, I dispatched Nathan, my husband, out of the room, using the logic that if it really did make us sick, one of us should be spared. Then I realized I needed pictures, so I called him back in, and without warning, Goldman turned the Inferno on. I’m not sure words can do justice to what can only be described as the most unbearable, gut-wrenching noise I’ve ever heard in my life. I screamed a few expletives, Nathan almost dropped the camera, and Dr. Goldman turned it off.

Here’s how it works: Inferno uses four frequencies spread out over 2 to 5 kHz. The idea behind it is that unlike a regular siren, these particular frequencies have a uniquely disturbing effect on people (and presumably cats, dogs and any other living thing). At 123 dB, it’s loud, but not significantly louder than any other alarm system. The advantage, according to Dr. Goldman, is the combination of frequencies. The human ear just doesn’t like it. I agree, I really didn’t like it.

How did I feel after the impromptu test? Nauseous, dizzy, or in pain? Hard to say, but Nathan looked pretty unhappy with me for the next hour or so. In fact, he still grumbles a bit when I mention his unwitting recruitment as a camera man/guinea pig. Love hurts.

Summary verdict: Being a guinea pig for a sonic ray was truly a whole lot worse than being a guinea pig for the pain ray. I would happily volunteer again to be hit by the Pentagon’s pain ray. It was fun, like being Bugs Bunny dancing around when Elmer Fudd tries to shoot him. I never, ever again want to be hit by the Inferno.

But here’s the question: what does a really unbearable sound do to a person? The Active Denial System appears to effectively prompt people to get out of its way. The Long Range Acoustic Device, a hailer, was famously used to thwart a pirate attack. But there is considerable debate over whether LRAD, when used as something other than as a warning device, is more effective than any other loud speaker.

In other words, will the Inferno work better than just a loud noise? For example, when I’ve accidentally set off my ADT alarm at home, it’s pretty damn annoying, and according to web references, it’s 120 dB. Inferno counts on the unique frequency spread to make it work better, but what does better mean? Does that mean a criminal/terrorist/insurgent will stop what they’re doing?

The trick with acoustic weapons is demonstrating that there is a unique, deterrent effect on humans. Penn State’s Applied Research Laboratory, as we’ve written here earlier, is planning to test at ranges of about 130 dB to see if sound can have a deterrent effect. It would be interesting, in my view, to test whether louder is better, or whether, as Dr. Goldman says, that the frequency combination is better. The problem in all these areas is the lack of test data. Dr. Goldman notes that the only human tests on Inferno were done informally with workers in South Africa (the workers, who were promised money for sitting through an Inferno blast, didn’t last more than a few seconds, he says).

Will Inferno be the next sonic blaster? Dr. Goldman knows it’s an uphill battle to break into the security market, but he’s confident that Inferno could be used for everything from alarms systems and prison riot control, to law enforcement and personal protection. Other applications, like maritime self-defense, are also possible. “Right now, I’m having fun,” he says.

Update:

In answer to a few of the comments below, yes, earplugs, or any other hearing protection device would mitigate the effects of Inferno. In my case, just covering my years with my hands helped a lot.

Via: http://blog.wired.com/defense/2008/02/i-was-a-puke-ra.html

http://www.arraytherapeutic.com/archimedes/index.html

RESEARCH:

The Hypersonic Project

Array Therapeutic is working with Dr. William J. Tyler in the School of Life Sciences at Arizona State University to study the effects of sound on biological cells. Recent advancements in the fundamental understanding of the mechanics of cellular biology and in tools for measuring these processes has enabled a unique opportunity to study the interaction of hypersonic sound (above the range of human hearing) with the human body.

Tyler LabPrevious research has identified the existence of a hypersonic effect, in which brain wave activity and cerebral blood flow are increased in the presence of the combination of audible and hypersonic sound waves. Our goal is to identify the cellular mechanisms for these physiological changes and to use this information to further study its potential application in the treatment of neural disorder and pain.

The Archimedes SI™ - for cell research

he Archimedes SI™ transmits acoustic energy into a standard 6 well culture plate (Costar® or Nunc®) without interruption to the culture system. Archimedes is controlled by an Agilent ® Model 33220A Function/Waveform Generator and can be easily configured to provide a wide range of power levels and waveforms for researchers.

Autor: Alex Davies BFA Honours

Literal: (from this link)

“…any unwanted sound, soft or loud, sweet or nasty, creates a multidimensional envelope that does more than intrude - it takes over not only your acoustic space, but your mind space as well. Acoustic intrusions reduce your freedom of thought. There is no escaping sound. It meets your body and forcibly enters your mind, not just through your ears but also via your bones, your flesh, and your body cavities.”

The work is an investigation into the effects of low frequency sound and infrasound via the design and construction of experimental acoustic emitters. Once installed in a particular space the work will have a profound effect on the surrounding sonic environment and the physiology of human subjects present. This is achieved by the resonant interactions between the subject’s body and the acoustic space.

It is beyond the limited scope of this paper to explore the physicality of sound and psychoacoustics in its entirety due to the vast nature of the subject area. However, this paper will investigate various key facets of the field relating to the work.

Human Auditory Perception

It is important to give some technical insight into the nature of sound in order to gain an understanding of the concerns and issues raised in this paper.

It is generally accepted that sound is perceptible to humans in the range of 20hz to 20khz (1Hz is one complete cycle per second of a sinusoidal wave). Although this is the accepted human auditory range most people, depending on age and gender, cannot hear sound above 14 to 18Khz. Contrary to popular assumption, careful measurements have shown that hearing does not abruptly stop at 20 Hz but the ear is capable of registering infrasound as low as 1Hz if sound pressure is sufficient. Frequencies above 20 kHz are considered ultrasound whilst frequencies beneath 20Hz are considered infrasound.

The range of audible sound is also differentiated into 3 main categories. Subsonic or low frequency sound is defined in the range of 20Hz to about 500Hz. Midrange frequencies inhabit the realm of 500Hz to 6KHz (6000Hz) with high frequency sound defined in the remaining 6KHz to 20KHz. To give these figures some relevance to tangible notions of sound, the musical tone of Middle C is 261.6 Hz.

Although acoustic energy in all areas of both audible and non audible frequencies display intriguing biological effects, the particular regions of sound that the work focuses on is in the subsonic and infrasound region.

There are two other key aspects of low frequency sound and infrasound that are worth noting. The first is that low frequency sound has a relatively long wavelength and low material absorption rate, hence has the ability to travel vast distances. These properties make it possible to achieve a profound effect on vast tracts of acoustic space with the production of high sound pressure level (SPL) acoustic waves. The second issue regarding low frequency sound is that it is very non directional in it’s propagation and therefore has the effect of enveloping the individual without any discernable localized source.

The opposite of these properties is characteristic of high frequency sound which can readily be absorbed by materials and is highly directional and as such has been an asset in the design of acoustic weapons.

The perceived loudness of a sound is measured in a unit called the decibel (dB). The decibel utilizes a logarithmic scale rather than a linear one, as the human ear perceives loudness in a similar manner. A 3dB increase equates to an actual doubling of the sound level. However, perceptively, a 10dB sound level increase is considered to be about twice as loud.Frequency and perceived loudness are intrinsically linked, with greater intensity sound being required at low frequencies to produce the same amount of perceived loudness.

All objects have a property known as resonant frequency. Resonance involves the “re-enforcement of vibrations of a receiving system due to a similarity to the frequencies of the source”. One of the most famous examples of natural resonance is Tacoma Narrows Bridge at Puget Sound Washington. After being exposed to gusts of wind the bridge began to vibrate at its natural resonant frequency and subsequently began to swing wildly and finally shake itself to pieces.

In a similar manner sound may be exploited and tuned to particular resonant frequencies inherent in humans. It is this way that sound can be utilized to provide a diverse range of psychophysiological effects.

Physiological Effects of Sound

Any severe extreme imposed on the sonic environment has a profoundly destabilizing effect on the individual. This becomes evident in both the areas of high intensity acoustic energy and also its complete absence. Anechoic chambers, which create an environment void of sound, have the ability to produce similar feelings of disorientation and disturbance that are evident with high intensity sound. The silence envelops the individual in a suffocating manner causing both psychological trauma and also physiological disturbance in the form of balance and other related body function.

It is clearly apparent that the human organism is in an extremely delicate state of equilibrium with the sonic environment and any profound disturbance of this system will have subsequent ramifications on the individual.

Although various facets of acoustic ecology have been examined there is little publicly available material on the effects of low frequency sound on humans. Thus, speculation and unsupported allegations related to the field have become prevalent. This lack of available research material is predominantly due to the fact that the Department Of Defense and related private research organizations conduct the majority of experimental research in this arena and hence the material is often of a restricted nature. Jürgen Altmann conducted the only extensive survey of the area in 1999 although this was of a purely theoretical nature without any experimental research.

What also becomes apparent after a survey of the literature is that much of the material available is conflicting in nature. This adds further to the general mystery and confusion surrounding the area and promotes the rapid spread of mythologies and misinformation on the subject, highlighting an obvious need for a current comprehensive experimental study to be undertaken.

References to sound as a violent entity date from the biblical trumpets that brought down the walls of Jericho to current trends in acoustic weapons research including the work conducted by organizations such as Scientific Applications And Research Associated Incorporated (SARA). Various musicians such as The Halfer Trio and Throbbing Gristle have utilized these assaultive sonic properties in live performances with alleged degrees of success. Entire musical compositions have been composed around the manipulative qualities of sound.

In a 1973 article in Crawdaddy ,William Burroughs discusses such notions with Jimmy Page of Led Zeppelin fame. He asked Page about the potential of using infrasound to enhance the musical experience and produce euphoric effects. However, the article tends to deliver broad and hazy allegations regarding low frequency sound such as ‘he (Vladimir Gavreau) had an infrasound installation that he could turn on and kill everything within five miles. It can also knock down walls and break windows. But it kills by setting up vibrations within the body’. Such statements are typical of the alleged effects of low frequency and infrasound on the body. Where Burroughs obtained such a figure from is unknown as no reference was made to such a device or physiological effect in Gavreau’s own writings. Statements like the one above continue to propagate rumors, and in a similar manner to ‘Chinese whispers’ these are slowly distorted over time.

The pinnacle of sensational notions related to low frequency and particularly infrasound came after the publication of Gavreau’s findings in Science Journal in 1968. At this time a variety of unsubstantiated and sensational reports appeared in the media, such as the Miami Herald’s article relating to Gavreau’s work entitled ‘Sound Ray Developed as A Killer — French Working On A War Machine’ ,and the London Observer’s report on the 7th January 1968 “Sound As a Weapon Of War”. Perhaps the most sensational and absurd effects attributed to infrasound was reported in the Melbourne Sunday Press (7th September 1973). Entitled “The Low Pitched Killer”, the article is concerned with the lethal effects of infrasound generated by open car windows. This document, as well as “Does Infrasound Make Drivers Drunk” published in New Scientist 1972, claimed that infrasound generated by automotive travel is responsible for a variety of dubious physiological effects including ‘motorway madness’.

Typically sensational, the article states:

“But much more sinister are the unnoticed effects of infrasound at lower levels: in an ordinary car travelling at speed the infrasound noise is more than enough to mimic the effect of drunkenness in the driver. With the sense of euphoria that infrasound also induces, it may therefore be responsible for many inexplicable crashes.”

It is no wonder that with absurd statements published in respected journals such as New Scientist, these ideas are evident within the population.Though these effects could perhaps be attributed to vibratory effects generated by automobiles, due to the large impedance mismatch, low frequency sound at such levels would have an insignificant impact at such levels.

Although there is no doubt that the sonic environment has considerable impact on the individual, it is quite evident with comprehensive theoretical analysis that the majority of claims in the area are sensational.

Audible Sound

Audio in the region of 20Hz-20Khz can create psychological disturbance in individuals at levels substantially below those required for bodily discomfort or trauma.

From the thunderous hypnotic drumming of Zulu warriors to riot police beating their batons on shields whilst marching towards confrontation, the psychological effects of sound have been used extensively throughout history as a warfare device. Noise has always been experienced as ‘destruction, disorder, dirt, pollution, and aggression’. All cultures associate noise with the idea of the weapon, blasphemy and plague. “Behold, I will bring evil upon this place, the which whosoever heareth, his ears shall tingle” (Jeremiah 19.3)”. “When the drums of the resurrection sounded, they filled the ears with fear” (Al-Din Runir, Diavani, Shansi Tabriz).

Recently, psycho-acoustic warfare was allegedly used in the Waco siege at the Davidian compound in Texas, where it is said that the FBI used sounds of babies crying, dentist drills and a variety of other unpleasant sounds to mentally influence their opponents. The Waco compound was allegedly bombarded for long durations by these sounds via large public address systems.

Although this type of sonic assault can have a profound emotive effect on individuals, it relies heavily on the individuals particular experiences. This is where the actual physiological effects of sound are unique. Physiological changes in the body only start to occur at greater sound pressure levels. At about 120 dB discomfort begins in the ear and pain occurs when levels reach approximately 140dB.The eardrum subsequently ruptures at levels of about 160 dB. Pain becomes evident when the middle ear system is mechanically displaced beyond its normal operational limits

These acoustic effects are only apparent on the ear mechanism. The ear is a very easy structure to attack. Due to evolutionary processes the ear is particularly sensitive to midrange frequencies inherent in the human voice. Subsequently, all that is needed is an increased sound intensity at these frequencies for the threshold of pain to be readily reached. This is also related to the properties of the acoustic reflex in which a small muscle in the middle ear pulls the stirrup back from the oval window and subsequently reduces the amount of acoustic energy transmitted to the middle ear. This however only has a significant impact at frequencies lower than about 1000 Hz so that frequencies between 500 to 4000 Hz, the range at which the auditory center is most sensitive, are largely unaffected.

The acoustic effects on the body are more complex. Research has concluded that with low frequency sound in the region of 50 — 100Hz at levels of 150dB or more, intolerable sensations in the chest and thoracic region can be produced–even with the ears protected.

Other physiological changes that occur include chest wall vibration and some respiratory-rhythm changes in human subjects, together with sensations of hypopharyngeal fullness (gagging). The frequency range between 50-100Hz also produces mild nausea and giddiness at levels of 150-155 dB, at which point subjective tolerance is reached. At 150 to 155 dB (0.63 to 1.1 kPa); respiration-related effects include subcostal discomfort, coughing, severe substernal pressure, choking respiration, and hypopharyngeal discomfort.

Vladimir Gavreau, who worked extensively with high SPL low frequency sound at the Centre National De La Recherché Scientific states, after being subjected for five minutes to an acoustic emitter producing 196Hz at levels of 160 dB, “we became aware of a painful resonance within our bodies-everything inside us seemed to vibrate when we spoke or moved.” These feelings subsequently disappeared after a period of three hours.

At medium to high audio frequencies the pronounced visceral effects that are evident with low frequency vibration are absent. However, disturbance of the equilibrium can be achieved at levels above 140 dB for unprotected ears. At even higher levels, tickling sensations and heating may occur in air-filled cavities such as those of the nose and mouth and gaps between the fingers. A 7kHz acoustic beam at a level of 165 dB produced the sensation of strong heating between the fingers of the subject that were being held close together. This was due to the high degree of friction that was created although the effect vanished when the fingers were subsequently opened apart.

High audio frequencies (above 10 kHz) and ultrasound (above 20kHz) have no pronounced effect on the individual unless the level is in the range of 140dB with more prominent effects of heating of air cavities, hair and textiles becoming apparent at levels of 160dB. Various assaultive acoustic devices have been designed to operate within this audio region. Most of these devices utilize a sonic property called heterodyning in which 2 differing frequencies combine to form the sum and difference of the initial frequencies.For example, the frequencies of 16000 Hz and 16002 Hz can be combined in the ear to form 32000Hz and 2Hz. Devices operating in the ultrasonic region in this manner also have the added advantage of operating in a very directional and focussed manner at an imperceptible frequency region.

Infrasound

The threshold for infrasound is around 140dB at 20Hz increasing to about 162dB at 2 Hz and to 175-180dB for static pressure.Due to the ethical issues regarding testing human subjects, experiments on dogs were conducted at levels of 170dB at a frequency of 0.5 Hz. Curiously the dogs stopped breathing because of lung ventilation due to the high intensity pressure changes, although the 0.5 Hz frequency of the sound acted as an artificial respirator and the dogs showed no ill effects afterwards.Many of the most profound effects of sound are attributed to infrasound in the region of 7Hz. This corresponds with the median alpha-rhythm frequencies of the brain.It is also commonly alleged that this is the resonant frequency of the body’s organs and hence organ rupture and death can occur at high intensity exposures.

Impulse noise

Shock waves from explosive blasts produce varying and perhaps the most dramatic effects in the realm of acoustic devices. At moderately high levels in the region of 140 dB temporary hearing loss occurs, which can become permanent at higher values. At acoustic levels above 185 dB the tympanic membrane begins to rupture.

At acoustic levels of about 200 dB, lungs begin to rupture, and above about 210 dB some deaths will occur.

Sonic Violence

“Noise is violence: it disturbs. To make noise is to interrupt a transmission, to disconnect, to kill.”

An acoustic attack works on several levels. The first is physiological changes that take place within the body. These vary and are directly relational to the frequency of the sound and the intensity. Next is the isolation of the individual from the environment. Not only would high intensity sound effectively mask all other sound thereby rendering the user deaf to the immediate environment, but it would also make him/her powerless in the realm of vocal communication. With the loss of effective speech comes feelings of helplessness and confusion. Humans are able to selectively filter various aspects of their immediate sonic environment to extract particular fragments from the soundscape. Such auditory filtering systems inherent in human sound perception would be rendered useless as the individual is enveloped by high intensity sound.

Low frequency sound and particularly infrasound have intrinsically mysterious effects as they generally bypass the ear mechanism and are predominantly felt and not heard. This coupling of sound directly to the body may be responsible for feelings of anxiety due to a lack of cognitive resolution within the individual.

Psychotropic Warfare

It is the human condition to try and find answers for inexplicable events or phenomena. Sonic weapons are often embraced in this capacity, as they are not only often imperceptible to the ear in their operation but also are capable of extensive physical and behavioural control. As a result sonic violence has also become a prevalent theme in the area of conspiracy theorists and ‘mind control’ victims. This has lead to the loss of credibility in an area that has an extremely significant impact on the human organism.

The aims of such systems are to influence and manipulate neural activity or to confuse or destroy the signals that normally keep the body in equilibrium. One such group of devices are silent communication systems in which non-aural carriers in the infrasound or ultrasound range are propagated acoustically or vibrationally for inducement into the brain.

They may be used to “artificially implant negative emotional states - feelings of fear, anxiety, despair and hopelessness.”Such a device is outlined in the 1992 US Patent #5,159,703.

The American Defense news in 1993 describes “acoustic psycho-correction” experiments carried out by the Russians from the mid 1970’s which “could be used to suppress riots, control dissidents, demoralize or disable opposing forces”. The device which operated by the “transmission of specific commands via static or white noise” showed “encouraging results after exposure of less than one minute” and operated without the upsetting of other intellectual functions.Operating as an infrasound device the acoustic psycho-correction message is transmitted via bone conduction. Due to this insidious facet, earplugs prove fruitless in protecting the individual, as whole body protection is needed. Further developments of such devices utilizing sonic communication directly to the temporal lobe may produce the most striking and profound acoustic attack. Literature by Silent Sounds, Inc. indicates that it is now possible to analyze human emotional EEG patterns and replicate them, then store these “emotion signal clusters” and, at will, “silently induce and change the emotional state in a human being”.

Again, in much the same manner as the alleged effects of infrasound and low frequency sound, misinformation and sensationalism shroud data in this arena. Perhaps even more so in the case of psychological assaults, as notions of control over the will of other individuals has been sought since the dawn of humanity. One cannot help but think in the following statement that profound psychological disturbances are present when common individuals appear to be victims of extensive mind control harassment. It is apparent that the sensationalist public opinion regarding acoustic weapons and control devices is being readily drawn upon by individuals to justify and explain maladies and aberrations of the body and mind.

“Don’t EVER let a psychiatrist tell you voices in your head must indicate mental illness any more! Voice to skull radio transmission is now a de-classified documented reality”.

Psychotropic acoustic violence may not only work on direct speech /sound to skull transmissions but also on the manipulation of various brain functions. This psychophysical principle is called entrainment and acts on both subtle and pronounced ways. Entrainment is the foundation of music for dances, marches and work songs. Society often looks upon sound and the acoustic environment as a form of wallpaper yet rarely considers the myriad of psychophysiological influences always present. Trance inducing properties are evident at 60 beats per minute with a frequency of 72 Hz, corresponding to the frequency of human heartbeats. Frequencies corresponding to the Alpha, Beta and Theta brain rhythms have been utilized in similar manners to influence neural activity. This is perhaps why the fabled infrasound frequency of 7 Hz is so notorious as it is the median frequency of the brain’s theta rhythms. This frequency is most prominently associated with moods concerned with fear and anger. Incidentally psychopaths have a general dominance of theta rhythms. It is also allegedly the average resonant frequency of the body’s organs and hence excitation would cause organ rupture and death.

Acoustic Ecology

“Noise becomes a parasite which threatens to dominate the environment in the same way as weeds choke a vacant block”

Natural Sources of Low Frequency Sound:

Ever since the dawn of life on earth organisms have been exposed to low frequency sound and vibration. Though ever present, the effects of such environmental sound would not begin to have a profound impact on the acoustic ecology and inhabitants until the advent of the industrial revolution. It was only then that sounds of extremely high intensity became prevalent. Prior to this these sounds were the consequence of remarkably rare environmental events.

There are several predominant sources of naturally occurring low frequency and infrasound in the environment. The entire globe is in a continual dynamic state of enveloping low frequency sound. Sources of such low frequency sound range from atmospheric winds in the range of 30 to 40 Hz to those produced by the ocean and other turbulent bodies of water. Ocean waves produce sound with a mean frequency of 16Hz. These frequencies can become more pronounced if unique geographical conditions are present and the frequency produced by the water is the same as the resonant frequency of the environment such as in bays. The thunderous crashing torrents of water in waterfalls are strong emitters of infrasound as is the gigantic shearing and fracturing of icebergs. It has been said that such low frequency tones have a continuing effect on those inhabiting such environments. Deep seismic shocks produced by earthquakes send strong infrasonic impulses to the surface of the earth. Animals are notoriously sensitive to such vibrations displaying erratic and anxious behavior well before any human perceives the impending chaos.

The explosive force of Krakatoa in August 26 —27 1883 produce massive intensities of low frequency sound and is in fact considered to be the loudest noise on earth in living memory. The apocalyptic blast was heard over nearly one — thirteenth of the entire surface of the globe at a distance of nearly 4500-Km.

Though these sounds are ever-present in the acoustic space that individuals inhabit on a day to day basis, their influence on the individuals psychological and most certainly physiological state are subdued when compared to the influence of machines.

The advent of the industrial revolution has promoted a flourish of diverse interest in acoustic ecology and the subsequent effects on society and the individual. This period has proved to be a truly unique era in acoustic ecology as sounds generated by machines powered by inhuman sources has meant that sounds readily exceed conventional human limits. Machines also have the unique properties to produce sounds that force human systems to resonate in inhuman ways.

Individuals exploring this area range from John Cage to Russulo and the Futurist Artists. Cage, generally renown for his interest in miniature sound also examined the nature of loud sounds. When asked in a 1977 interview for radio France whether there were any ‘poisonous’ sounds Cage responded “I haven’t heard any. And I have been searching. I even made the experience to hear a very loud sound”. Cage refers to an incident whilst attending a concert of the Spanish group Zai. He “sat in front of the speaker for an hour turning first one ear and then the other towards it”. When it stopped he states, “my ears were ringing. The ringing continued through the night, through the next day and through the next night”.

Although society and the individual have embraced the machine and the industrial revolution and although utilized, it is indeed rare that a fondness for such sounds is present. Machine noise is responsible for the greatest intensity of sonic pollution present in society. Contrary to the aversions of society in general the Futurist musicians such as Russulo and Marinetti joyously embraced the noises of war. Building devices called Inonarumori to simulate these horrific sounds, musical works were constructed with these psychologically unpleasant noises.

Prior to this, in a musical context, loud sounds were traditionally “generated by the lungs and limbs of performers grouped together in massive numbers.”Now however machines could be utilized as instruments. One such mechanical performance is highlighted in a disastrous rendition of George Antheil’s Ballet Mechanique in 1927.

“When the conductor Eugene Goosens gave the cue, the siren player cranked and then cranked feverishly, but absolutely no sound was produced. The moment for the siren was now long past, and Goosens was turning to the last page of the score. Disgustedly the effect’s man stopped turning the crank, as the last bars of the ballet crashed out. And then in the silence that followed there came the unmistakable sounds of a fire siren gathering speed. Louder and louder it came as the last noted of the ballet died away, and as Goosens turned to bow to the audience and Antheil rose from the piano, it reached it’s full force. We had all of us completely forgotten the simple fact that a siren does not start making any sound until it has been energetically cranked for almost a full minute. And also we had forgotten that it does not stop shrieking simply because you stop cranking. We remembered both of these things now as the wail from the infernal red thing on the stage kept dinning in our ears, drowning out the applause of the audience, covering the sound of the people picking up their coats and hats and leaving the auditorium.”

The performance highlights the all-encompassing and pervasive nature of industrial sound. Matt Heckert’s Mechanical Sound Orchestra provides a contemporary presence of mechanical sound art and acoustic emitters. Although Heckert’s work draws upon the futurist machine music it also explores notions of the body as an instrument. One group of orchestral devices known as the ‘resonators’ create sonic environments that interact with the audiences body. Consisting of Cannon like pipes they are pulsed via a mechanically actuated diaphragm. The work is ‘music for the body, not just for the ear or the mind’. Exhibited at Biomachines, the work encouraged the audience to sit in succulent chairs and be enveloped by the variety of modulated frequencies produced.

Similar concerns also extend to the work of Eric Hobjin with the Dante Organ. The Organ is an “installation consisting of 10 to 15 flame-throwers with pillars of fire 13 to 20 meters high, creating an environment dealing with the aesthetics of violence”. The thunderous sounds produced by the pipes assault the viewer, forcing them to “abandon the pure artistic aspects of the piece to deal with the real and present danger.”

The use of high intensity sound in such works creates unique sonic spaces in which, as Douglas Kahn states “any performance space could be turned into a resonant chamber, much like the body of a very large instrument in which humans are played”.

Acoustic Weapons

Infrasound has been used in the context of war since WW1, although at this stage it was related to sensitive devices used to measure infrasonic emissions and hence identify the location of artillery. Though there are references to assultive acoustic devices being created as early as WW2 it was not until the 1960’s that research in the area became more vibrant. Early references to such devices come only as fragments or hearsay. One such device is explained as follows

“… consisted of a parabolic reflector, 3.2 meters in diameter, having a short tube which was the combustion chamber or sound generator, extending to the rear from the vertex of the parabola. The chamber was fed at the rear by two coaxial nozzles, the outer nozzle emitting methane, and the central nozzle oxygen. The length of the chamber was one-quarter the wavelength of the sound in air. Upon initiation, the first shock wave was reflected back from the open-end of the chamber and initiated the second explosion. The frequency was from 800 to 1500 impulses per second. The main lobe of the sound intensity pattern had a 65-degree angle of opening, and at 60 meters’ distance on the axis a pressure of 1000 microbars had been measured. No physiological experiments were conducted, but it was estimated that at such a pressure it would take from 30 to 40 seconds to kill a man. At greater ranges, perhaps up to 300 meters, the effect, although not lethal, would be very painful and would probably disable a man for an appreciable length of time. Vision would be affected, and low-level exposures would cause point sources of light to appear as lines.”

Whether such a device was truly effective can never really be known however there are currently several organizations conducting research in area of acoustic weapons. Due to this continuing research in the area one can speculate that there has never been a truly successful device. Interestingly this is also reflected in recent statements by research groups such as Scientific Applications and Research Associates (SARA) who have apparently taken previous allegations on face value when quoting the alleged effects of some of the impulse noise acoustic devices under construction. Despite such extensive inconsistencies in regards to the alleged effects of acoustic energy current research still flourishes in the area. A similar, albeit more compact device to the one described above, was outlined by Primex Physics International Company in 1998. Still relying on impulse noise technology, it achieved levels of 165dB at a distance of 50 feet and “appears to have very desirable risetime and pulsewidth characteristics that are essential for optimal acoustic-psychological coupling to targets.

The applications of this current research is predominantly based in the development of non-lethal acoustic devices for use in such circumstances as “embassies under siege, for crowd control, for barriers at perimeters or borders, for area denial or area attack, to incapacitate soldiers or workers.” Regarding to the non — lethal properties of such devices, the purported effects with respect to humans seem extremely inappropriate for temporary incapacitation with no long term side effects.

The most recent alleged effects from SARA’s current research are stated as:

“Infrasound at 110-130 dB would cause intestinal pain and severe nausea. Extreme levels of annoyance or distraction would result from minutes of exposure to levels 90 to 120 dB at low frequencies (5 to 200Hz), strong physical trauma and damage to tissues at 140-150 dB, and instantaneous blastwave type trauma at above 170. At low frequencies resonance’s in the body would cause hemorrhage and spasms; in the mid-audio range (0.5-2.5 kHz) resonance’s in the air cavities of the body would cause nerve irritation, tissue trauma and heating; high audio and ultrasound frequencies (5 to 30 kHz) would cause heating up to lethal body temperatures, tissue burns, and dehydration; and at high frequencies or with short pulses, bubbles would form from cavitation and micro-lesions in tissue would evolve.”

If would be interesting if such allegations prove to be plausible when backed up by experimental data in the future however at this juncture it does not seem to be the case.

There are several possible paths that can be taken regarding the design of a high acoustic output device suited to sonic violence. Conventional loudspeakers are not particularly suitable for the task for several reasons. The primary reason is efficiency. Only about 1% -2% of energy is efficiently used in a conventional voice coil loudspeaker. Efficiencies of between 10%-50% can be achieved with the use of rear loaded exponential horn speakers.Subsequently to obtain the high sound pressure levels needed for an effective unit an impractical array of speakers and amplifiers would be needed to compensate for this. The second flaw with the use of conventional speakers as a suitable emitter is the limited frequency response in the low frequency sound region. An alternate to voice coil technology is that of pneumatic emitters. These include whistles and horns. A whistle acts as a resonant cavity with a mouth similar to that found in a pipe organ. These devices are able to achieve efficiencies of up to 70% and are capable of generating frequencies well into the infrasound region.

Impulse noise devices offer the capability of extremely high SPL via an acoustic shock pulse. These may be generated via any explosive mixture in the form of a fuel/air mix or explosive compound. Due to the nature of combustion however, byproducts of the ignited fuel/air mix would pollute the immediate surroundings hence necessitating an outdoor environment and loss of flexibility of the device. The pneumatic acoustic emitter is not as self sufficient as that of the combustion based counterpart as generally 3 phase power is required to provide enough energy to operate the device. The combustion-based device however may run as long as fuel is present and hence would be more appropriate for remote locations without the use of generators. A greater degree of control over specific frequency ranges is apparent in the whistle design. This enables the generation and subsequent observation of the effects of very precise frequencies in the subsonic and infrasonic region.

Humans interact with the acoustic environment in many complex ways. The human hearing system not only consists of the ear but also encompasses conduction and mediation via bones, flesh, and body cavities. Acoustic energy has the ability to profoundly influence an individual’s brain waves, respiratory cycles, nervous system, muscle function, heart rate and glandular function. As such, a benign acoustic space can readily be turned to violence against the individual. Although this has been well documented throughout history a great deal of misinformation and blatant sensationalism has lead to the creation of a area still void of any concrete findings. Due to this the complex and significant pychophysiological influences still remain a mystery to a large degree.

Bibliography

Attali, Jaques, Noise — The Political Economy Of Music, Manchester University Press, UK, 1977.

Broner, N, The Effects Of Low Frequency Noise On People — A Review, Journal Of Sound And Vibration 58 (4), England, 1993.

Bryan, Michael and Tempest, William, Does Infrasound make Drivers “Drunk”?, New Scientist 16th March 1972.

Campbell, Murray, The Musicians Guide To Acoustics, Dent, England, 1987

Davis, Gary & Jones, Ralph, Sound Reinforcement Handbook, HP, USA, 1989

Gavreau, Vladimir, Infrasound, Science Journal 4 (1), USA, 1968

Hecht, Jeff, Not A Sound Idea, New Scientist, UK, 20th March 1999

Kahn, Douglas, Noise Water Meat — A History Of Sound In The Arts, MIT Press, USA, 1999

Keith, Jim, Mind Control World Control — The Encyclopedia Of Mind Control, Adventures Unlimited Press, USA, 1997

Kientzle, Tim, A Programmer’s guide To Sound, Addison-Wesley, USA, 1998

Madsen, Virginia, Notes Towards Sound Ecology In The Garden Of Listening, Essays In Sound 2, Technophobia, Australia, September 95

Neal, Charles, Tape Delay, SAF Publishing LTD, UK, 1987

Rodwell. R., Army tests New Riot Weapon, New Scientist, UK, 20th September 1973

Schaefer, Murray, Soundscape, Cultures 1 (1),Unesco, 1973

Seashore, Carl E., Psychology Of Music, Dover Publications Inc., USA 1967

Simon, Leslie E., Secret Weapons of the Third Reich, WE Inc, USA, 1971

Swezey, Stuart, Amok Journal — Sensurround Edition, Amok, USA, 1995

T.A.G.C., Meontological Research Recordings Teste Tones, Soleilmoon Recordings USA, 1988

Toop, David, Ocean Of Sound, Serpent Tail, USA, 1995

Tuzin, Donald, Miraculous Voices- The Auditory Experience Of Numinous Objects, Current Anthropology 25 (5), USA, 1984

Wall, Judy, Military Use Of Mind Control Weapons, USA, Nexus October / November 1998

Yost, William A., Fundamentals Of Hearing, Academic Press, Inc., USA, 1994

Patents

Adams, Guy Emery, Noise Generator & Transmitter, Untied States Patent 4,034,741, July 12 1977

Brunkan, Wayne B., Hearing System, United Stated Patent 4,877,027, October 31 1989

Drewes, William, Sonic Weapon System, United States Patent 4,349,898, September 14 1982

Flanders, Andrew, Psycho-Acoustic Projector, United States Patent 3,566,347, February 23 1971

Lowery, Oliver M, Silent Subliminal Presentation System, United Stated Patent 5, 159,703, October 27 1992

Naff, John T., & Shea, James, Acoustic Canon, United States Patent 5,973,999, October 26 1999

Puharich, H.K., Means For Aiding Hearing, Untied States Patent 2,995,633, August 8 1961

Wilson, Joseph, Superimposing Method And Apparatus Useful For Subliminal Messages, United States Patent 5,134,484, July 28 1992

Internet: Note — All URL’s referenced are current as of time of publishing (november 1999) however due to the dynamic nature of the Internet certain articles may not be accessible in the future.

Non Lethal Weapons

Lewer, Nick, Forum — Nonlethal Weapons,

http://forum.ra.utk.edu/summer99/nonlethal.htm

Murhpy, Michael, Biological Effects Of Non Lethal Weapons,

http://www.dtic.mil/stinet/ndia/NLD3/murp.pdf

Paternak, Douglas, Wonder Weapon, http://www.usnews.com/usnews/issue/970707/7weir.htm

Welsh, Cheryl, Nonlethal Weapons — A Global Issue, http://www.calweb.com/~welsh/8.htm

Acoustic Weapons & The Psychophysiological Effects of Sound

Altmann, Jürgen, AcousticWeapons — A prospective Assessment, Universität Dortmund / Institut für Experimentalphysik III April 1999

http://www.einaudi.cornell.edu/PeaceProgram/acousticweapons.pdf

Day, Fergus, Deadly Silence,

http://www.profreedom.free4all.co.uk/deadly_silence.html

King, Benson, Nonlethal Acoustic Weapons,

http://www.dtc.army.mil/tts/1997/proceed/king/sld014.htm

Scientific Applications And Research Associated Incorporated (SARA), Technologies, http://www.sara.com/Capability/Tech.html

Schewe, Phillip & Stein, Ben, American Institute Of Physics-Acoustic Surgery,

http://www.aip.org/enews/physnews/1998/split/pnu380-1.htm

Vassilatos, Gerry, Hearing Through Wires: The Physiophony Of Antonia Meucci, http://www.borderlands.com/archives/arch/hearing.htm

Pellegrino, Ron, The Effects Of Sound / Music On Digestion,

http://www.microweb.com/ronpell/FXofSndMscONHumnDigstn.html

Nichols, B, Deadly Vibrations — A Brief History Of Sonic Warfare,

http://www.overloadmedia.co.uk/library/deadvibr.htm

Woodward, David, Trumpets Of Jericho,

http://www.davidwoodard.com/jericho-index.html

Vassilatos, Gerry, The Sonic Weapon Of Vladimir Gavreau,

http://www.borderlands.com/archives/arch/gavreaus.htm

Walonick, David, Effects Of 6 — 10 Hz ELF on Brain Waves, http://www.borderlands.com/archives/arch/elf.htm

Sikorsky, Smurfing On Sine Waves, NoiseGate # 3

http://www.rfbaker.demon.co.uk/noisegate/articles/ngsmurf.html

Primex Physics International Company, Non Lethal Defense III - Acoustic Blaster,

http://www.dtic.mil/stinet/ndia/NLD3/sze.pdf

Kranidiotis, Argiris A. Human Audio Perception FAQ,

http://mambo.ucsc.edu/psl/audfaq.txt

Sound Art

Wendt, Larry, Luigi Russulo And The Art Of Noise,

http://cadre.sjsu.edu/switch/sound/articles/wendt/folder6/ng632.htm

Scarbourough, Kim, The Art Of Noises,

http://www.unknown.nu/futurism/noises.html

Hobijn, Eric, The Dante Organ And The Aesthetics Of Violence,

http://flux.thing.de/parasites/Dante/

Baker, Keneth, Body Sound: Other Music At Artspace,

http://www.MattHeckert.com/Press/SF_Chronicle.html

Acoustics & Acoustic Ecology

Pellegrino, Ron, Loud Music And Hearing Loss,

http://www.microweb.com/ronpell/LoudMusicNHearingLoss.html

Bottum, J, The Soundtracking Of America,

http://www.theatlantic.com/cgi-bin/o/issues/2000/03/bottum.htm

Pellegrino, Ron, Why are Audio Engineers The Enemies of Our Ears,

http://www.microweb.com/ronpell/EnemiesOfOurEars.html

Pellegrino, Ron, Sound Deserves its Own Pollution Category,

http://www.microweb.com/ronpell/NsNSndPltnFndmntPrncpls.html/SndDsrvsOwnPltnCtgry.html

Christophe, Charles, Poisonous Sounds, http://www.microweb.com/ronpell/NsNSndPltnFndmntPrncpls.html/PoisonousSound.html

United States Air Force, Sonic Boom, http://www.af.mil/news/factsheets/Sonic_Boom.html

Cody, John, Infrasound,

http://www.borderlands.com/archives/arch/infra.htm

Miller, Wreford, Silence In The Contemporay Soundscape,

http://interact.uoregon.edu/MediaLit/FC/readings/Thesis.pdf

Silverman, Andrew, Acoustics FAQ,

http://www.faqs.org/faqs/physics-faq/acoustics/index.html

Woodward, David, The Tarcoma Narrows Bridge Disaster,

http://www.davidwoodard.com/tacoma.html

Vassilatos, Gerry, Nocturnal Disturbances and the Infrasonic “Hum”,

http://www.borderlands.com/archives/arch/nux.htm

Karlow, Edwin A., Loud Music And Hearing Loss,

http://www.microweb.com/ronpell/LoudMusicNHearingLoss.html

Torp-Olsen, Eric, Whistle Physics, http://www.geocities.com/SoHo/Museum/4915/02.HTM

Psychotronic Warfare

Project Freedom, Remote Mind Control Weapons,

http://www.profreedom.free4all.co.uk/part1.html

White, Eleanor, Subject Index to Articles,

http://www.raven1.net/ravsubjx.htm

Synetic Systems Inc., The Science of Light and Sound, http://www.ecst.csuchico.edu/~andrewc/synopsis_of_articles.html

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Las corporaciones y empresas que trabajan para los sistemas de defensa (ejército) suelen presumir de fabricar sus productos con un nivel de calidad superior al dedicado al comercio civil. Sus productos están pensados para ser sometidos a condiciones de uso duras, extremas, así que, sin temor a equivocarnos, la industria armamentística dedica mucho esfuerzo al desarrollo de productos de alta calidad.

Este es el caso de Adaptative Technologies, y de su filial Aegisound. Ambas empresas ofrecen productos profesionales para la protección auditiva y ambas empresas trabajan para, entre otros, el ejército de EE.UU.

Adaptive Technologies is an experienced research and development firm committed to engineering solutions to difficult problems in dynamic systems, noise control, hearing protection, and intelligent active control systems. While our primary focus is research and development, our solutions are driven by real-world constraints and practical application.

Aegisound is a new manufacturing corporation with a high technology focus. Products are targeted towards hearing health and communications for both military and industrial noise environments.

En este artículo repasaremos someramente algunos de los sistemas de protección que ofrecen ambas empresas con el objetivo de informar sobre la existencia de dispositivos capaces de repeler con éxito cualquier ataque con armas acústicas.
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DISPOSITIVOS ANTI-ATAQUES ACÚSTICOS

The MAX25 SHP hearing protector is an improved circumaural hearing protector (earmuff) designed to comfortably reduce noise with the help of our Silencing Foam Inserts and Custom Foam Ear Seals.
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The MAX40 DHP hearing protector provides two levels of hearing protection: a custom molded earplug, and an improved circumaural hearing protector (earmuff) to fit over the earplugs. The earplugs are attached using a retractable tether to the inside of the earcup thus eliminating lost plugs and FOD. This system delivers improved comfort and best-in-class noise reduction.
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Custom Foam Insert and Seal Upgrade Kit. USN Cranial. A new acoustic foam insert and custom earseals have been designed to improve the hearing protection performance of US Military hearing protection devices. Through extensive research, development, and testing, this patent pending design has been proven to significantly increase the hearing protection provided by US Military HPDs.
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Custom-Molded Earplugs DHP. max40dhp. Aegisound’s custom molded earplug offers state of the art hearing protection for individuals working in harsh noise environments. Using audiology impressions of the user’s ears, Aegisound manufactures custom earplugs that maximize both comfort and noise attenuation. The final product consistently delivers superior hearing protection and comfort in a way that no other product can.
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The Digital ANR earplug: Active noise reduction earplugs for hearing protection in noise environments up to 150dB
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OTROS DISPOSITIVOS OFRECIDOS
ANR Earplug
Noise Canceling Microphone
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Remote Microphone
ANR for Audiometry
Listado completo de productos (pdf)

Excelente trabajo de investigación de este autor (Doctorando en Cuenca). Reproducimos aquí el capítulo #3 dedicado al terror musical
(Este capítulo aislado no es una muestra justa del excelente artículo que presenta este autor, acompañado de múltiples archivos multimedia: sonido, video, fotografía, etc.. Recomendable su lectura y análisis)

3#
Música tras el terror
Música sobre el terror
Música en el terror:

El terror musical

……..Respuestas alegóricas a preguntas alegóricas. Eso fue todo. No hay por qué preocuparse. No hay por qué alarmarse. Las cosas siguen donde están. Aunque ahora todo es, definitivamente, más real. Lucifer es un artista. Eso fue todo. Él hablaba del Arcángel Miguel, el príncipe de los ángeles, el general del ejército celestial. Lucifer presente, entre nosotros. Destruyendo lo construido. Él decía que esto era algo más bien anarquista. Desafortunada comparación. No ver los caminos. El espíritu destructivo en todos lados ve caminos. Lucifer presente. Lucifer el artista anarquista. Aquella catástrofe parecía un plan de Lucifer. Una obra de arte. La mayor. “La mayor obra de arte jamás imaginada”. La muerte total como algo digno de ser contemplado y por ende; gozado. Moral y estética. Ética y patética. El sentimiento angustioso que surge de las bodas entre lo sublime y lo siniestro. Él lo sintió. Todos lo sentimos. Esa extraña belleza. Esa fascinación inesperada. Arrolladora y terrorífica. La emoción que da paso a la conmoción. Para Duque, uno no está angustiado por tal o cual cosa sino porque las cosas han sido desconvocadas y abierto queda el horizonte desnudo que nos muestra la nada. Nos angustiamos ante lo que se niega a estar presente y ser representado (1) . El vacío significativo de esas imágenes que arrastra la multiplicación catódica y terrorífica de su apariencia. Fascinante. Cuando los terroristas quisieron asesinar, los artistas occidentales llamaban arte a la caída de aquel monumento Capital. Aquellas dos torres. Cuando los terroristas quisieron derribar el arte y el monumento, los artistas llamaron crimen a la caída de aquel monumento Cultural. Pobres Budas. Fantástica caída. Bipolaridad estética. Bipolaridad crítica. Dinero y Cultura. Torres y estatuas. Budas y empresarios. Arte y crimen. La cuestión sería cómo dar acogida al terror en el arte pero también cómo dar acogida al arte en el terror. Lo que está en juego no es tanto la desaparición del arte como su fascinación complaciente y positiva con lo real (2) . Pobre Stockhausen. Sufrir la contrariedad de ofrecer conciertos utilizando armamento de gran tonelaje -¡Es arte moderno! – y luego la cancelación de estos mismos conciertos por unas palabras poco afinadas. No nos interesan aquí las controversias sobre la esencia moderna o post-postmoderna entre arte, realidad y catástrofe. Pocas cosas que decir aquí. Nadie desea el desastre. Nadie desea que la barbarie tome las riendas de nuestras vidas. Procuren artistas buscar una distancia en la que “mostrar” sirva para tomar conciencia –una conciencia comprometida- ante nuestro tiempo.

……..Ahora, en nuestra exploración en torno a lo sonoro y la catástrofe nos interesaría más rastrear los discursos estéticos de lo musical en tanto que aparece junto con lo real catastrófico. Si la realidad (catastrófica o no) resulta ser refractaria a toda representación (de todo lenguaje-forma) podría resultar “lógico” convocar un espectro sonoro que la abordara, puesto que la diferencia entre música y lenguaje es precisamente que “el lenguaje es una actuación en su mayor parte superflua mientras que la música es lo inefable transformado en vida”(3) . No hay nada trascendente en esta idea. Todo lo contrario. Inmanencia desplegada. Sólo cabe añadir su reverso: lo inefable transformado en muerte. Y ahí estaba Stockhausen, el artista total de ideas totales y sonidos totales. Creador integrado con pesadillas apocalípticas, pariente lejano –en términos de entrega positiva- de aquellos italianos futuristas siniestrólogos –que no siniestrónomos- que se alistaron en los ejércitos europeos para asistir de cerca al espectáculo. Correr sobre la metralla. Ahí está el siglo XIX: Vamos a derribarlo con nuestras máquinas de matar. Fiat ars pereat mundus. La ignición de las palabras. La ignición del arte. ¿Qué esperaban los futuristas? ¿Qué todo ardiera o que todo se quemara? “No hay belleza más que en la lucha”. Brindemos con champán como Jünger mientras contemplamos las bombas caer en Bagdad. First we take Manhatan….then we take Berlin….and then you take Bagdad. Acciones diferidas. 1911 y 2001:

“El hecho de que haya gente que se entrena durante diez años como locos, con un fanatismo total para un concierto, y que mueran después de este, constituye la obra de arte más grande que haya podido existir hasta hoy en todo el cosmos.”

…y…

“Cuando en mi Batalla de Trípoli he comparado una trinchera erizada de bayonetas a una orquesta, una ametralladora a una mujer fatal, he introducido intuitivamente una gran parte del universo en un breve episodio de la batalla africana”(4)

……..El cosmos y el universo. Hacer entrar el universo por vías de la catástrofe. Extraña fascinación letal. Totalizar a base de terremotos y bombardeos. Helicópteros y entonarruidos. Stockhausen y Marinetti. Anomias. Manifestaciones inclasificables que acompañan el difícil tránsito de un mundo social que se degrada a otro que le sucede en el mismo periodo (5) . Stockhausen y Marinetti. Aún así, nada que ver el Marinetti de 1911 con el de 1933. El Marinetti de las bayonetas con el arquitecto de silencios(6) . El arquitecto de azoteas con “chip chip srschip de gorriones y golondrinas”. Claro, fue la guerra. Nada es igual cuando vuelves del frente. Miren a Ludwig. Miren Cervantes. Miren a Russolo. Miren como le cosen el cerebro tras la batalla en Monte Grappa. Trece futuristas hundidos y otros cuarenta y uno tocados. Las cosas se veían de otra manera. Qué raro resultaba volver a escuchar la canción de guerra de Balilla.

……..Cierto es que el valor estético del Futurismo supera con creces cualquier tipo de crítica que sobre él pueda dirigirse. Siempre hay tiempo para celebrarlos. Ahí está la nueva paleta sónica. La creación entusiasmada y sin prejuicios. La semilla transformadora. Su acción diferida en el 77. Dios salve a la reina. Rotten y Marinetti. Una bolsa de basura es más hermosa que El Guernika. Cierto es. Pero no podemos esquivar la crítica. No se ha de esquivar la crítica. Y no es la filia totalitaria lo que se les ha de reprochar a estos crápulas fascistas de pacotilla (7) . Ni mucho menos. Más bien el nihilismo lúdico del futurismo, inmaduro e infantil, que se entrega exaltado al progreso y a la mecánica –no sólo tecnológica, también estética y política- y al mismo tiempo promete odiar la inteligencia. Hacer valer lo bruto. Le bruit. Amar positivamente lo que ya era positivo desde el comienzo de la edad moderna y pensar que eso era de nuevo, moderno. Si bien es cierto que el fenómeno estético no puede crecer al margen del desarrollo de las fuerzas productivas y del progreso tecnológico, hemos de tener en cuenta –Benjamin insiste siempre en esto- que nuestra sociedad quizá no sea lo suficientemente moderna para hacer de la técnica su órgano. La guerra de Marinetti. La Estación Espacial Internacional de Marinetti. El escudo antimisiles de Marinetti. El Napalm de Marinetti. Sujeto Marinetti. Poliédrico Marinetti. Disparar contra la materia pero constituir el sujeto cada vez más objeto. Fatal derrota moderna. Tratar a los sujetos como objetos y a los objetos como sujetos. Fatal derrota. Quizá la diferencia entre Marinetti y Rotten radica en que el primero nos vende futuro y el segundo trafica con él.

……..Vamos a permitirnos imaginar el devenir histórico del entonarruidos. Pero vamos a salir del universo previsible de los compositores. Poco podría aportarnos reparar en ello ahora. Puertas que se cierran. Vasos que se rompen. Manivelas que se atascan. Ya sabemos de qué se trata. Vamos a imaginar a un empresario americano fabricando en masa el entonarruidos. Fabricándolos en masa y para las masas. Pero hagamos el esfuerzo, como hemos dicho, de rastrear el devenir histórico de aquellas ideas que movían y agitaban a los futuristas. Vamos a pensar en esas guerras. Vamos a pensar ya no en Libia sino en Bagdad, o Belfast, o Panamá, o en Irán, o en Guatemala, o en Filipinas, o en Chile. Los ejércitos y organizaciones vinculadas a los gobiernos modernos totalitarios -presuntamente democráticos- llevan más de cuatro décadas investigando sobre armamento “No letal”. Lo llaman “Non-lethal-weapons” (8) . Qué extraña idea. Armas no letales. Lenguaje y acción. Armas bonitas. Armas sin armas. Ahí están los duelos musicales. Todo un clásico. Froberger contra Weckmann. Dresde. El duelo de los amigos. Haendel contra Scarlati. Roma. El organista contra el clavecinista. Bach contra Marchand. Dresde. Duelo que no se produjo. Marchand huyó después de haber oído a escondidas a Bach. Mozart contra Clementi. Viena. Clementi tocó con arte pero Mozart con arte y gusto. Beethoven contra Steibel. Viena. Steibel perdió el duelo y se vio obligado a abandonar la ciudad. Listz contra Thalberg. París. Magníficos intérpretes. Pésimos compositores dijeron los asistentes entonces. Grandes batallas de la historia. Tientos bélicos. Tientos y batallas.

……..Mediante la noción de “armas no letales” se refieren a aquellas armas que no cruzan la barrera de la muerte. Cabría decir “less letal” o “pre-lethal”. Concursan en el dolor igualmente, en la discapacitación, en la agresión pero no en la aniquilación (9) . De entre todas ellas, las armas acústicas son precisamente las que más recursos económicos han acaparado en las últimas décadas, vistos los excelentes resultados obtenidos a base de su aplicación disciplinada. Infrasonidos. Ultrasonidos. Sonido dirigido y proyectiles sonoros. Componen la nueva armamentística que aplican desde hace ya décadas distintos gobiernos. El LRAD o Aparato Acústico de Largo Alcance (Long Range Acoustic Device (10) ) es capaz de proyectar un espectro de sonido tiene un alcance de entre 500 y 1000 metros y produce un rumori de 150 dB. Diseñado por American Technology Corporation, más de 350 sistemas LRAD han sido vendidos a unidades de guerra para sus técnicas de PsyOps, pero también a departamentos policiales y fronterizos y ejércitos de distintas partes del mundo. Un disparo de LRAD emite una intensa energía acústica que puede incapacitar a un grupo grande de personas. No sólo es la desorientación espacial, es el golpe cerebral instantáneo capaz de hacer saltar el funcionamiento estándar de éste. Imprime un temblor interno inmovilizador. Desorienta y confunde. En Israel, el LRAD hace sangrar por la nariz a los palestinos y en Irak el LRAD reproduce directamente el top ten catrastrófico que los propios soldados gestionan. Metállica. AC/DC. Eminem. Pero también el siniestro Barney. El amigo de los niños. El dinosaurio morado. Música infiel a todo pasto. Los presos liberados de las cárceles de Abu Ghraib o Guantánamo nos hablan de conciertos infernales que duraban días. Tortura High-Fidelity. Tortura en Alta Fidelidad. ¿Quién querría un Bang&Olufssen? (11) . El ejército lo llama “No Touch torture”. Qué ingenuos. Piensan que la música no te toca. Que el sonido nada tiene que ver con la piel. La tortura sin contacto es la estrategia principal de grupos de discutible legalidad como la CIA o las OSS. La manipulación sensorial –encapuchar a un detenido, exposición a un ruido continuo- pero también la humillación sexual y cultural, es capaz de conseguir en días lo que la tortura física conseguía en semanas. Se trata de promover el miedo (fear up) y derrumbar el ego (ego down). (12) Lo importante es no dejar marca. No dejar huella. Hacer filosofía a martillazos. Hacer la guerra a martillazos. Es la balística del hip hop importado. No dejar marca. Los pensadores de la música y los actores del estado comparten teorías(13). El arte de los ruidos. El arte de las balas. Teoría de la canción moderna. Tacto sin contacto. El poder inmaterial de lo sonoro:

“Un éxtasis oscuro, la experiencia no debe ser ni de aislamiento ni de comunión, sino una relación que imita los efectos de las cadenas que atan su cuerpo –la relación de estar enteramente a merced de un Poder ubicuo y sin misericordia. Me lo imagino a veces como ser sumergido en una distopía post-moderna, pos foucaltiana, en donde uno es incapaz de nombrar, mucho menos resistir, el poder abrumadoramente difuso que está afuera de uno, pero que también está adentro, y que opera a partir de obligarlo a uno a cumplir con la voluntad, contra los intereses propios, pues no hay manera –ni siquiera una retirada hacia la interioridad. De escapar al dolor. ¿Qué mejor medio que la música para lograr (como una interpretación musical bien lograda) la experiencia del poder occidental. El infiel , ubicuo e inescrutable poder moderno”(14)

……..Ahí estaban los futuristas. Entusiasmados con la nueva y moderna paleta de ruidos.(15) Con sus uniformes militares. La mayor obra de arte jamás imaginada. Mejor que escuchar la Heroica. ¿Cómo explicar a Marinetti la diferencia entre lo real y la realidad? La realidad es un punto ciego del lenguaje. Vacío primordial que se encuentra fuera de cualquier semántica, de cualquier relato. Lo realidad –que no lo real- siempre más allá de los significados lingüísticos que ofrecemos como lo real. ¿Cómo explicar a Stockhausen la diferencia entre silencio y palabra? ¿Cómo entender el arte de los ruidos desde nuestro ahora? Ahora capaz de instalar LRAD en las plazas. Organizar a la masas. Músic for the masses. Marinetti se relaciona con la estética como el soldado con el armamento. La primera guerra no heroica. En ella se prefigura lo que va a ser el ser humano en el futuro. Primera guerra contra objetivos civiles. Todos estamos amenazados. Todos expuestos a la muerte. Preparados para gritar:

“Cada 5 segundos cañones de asedio destripar espacio con un acorde ZANG-TUMB-TUUUMB amotinamiento de 500 ecos para roerlo, desmenuzarlo, desparramarlo hasta el infinito. En el centro de esos ZANG-TUMB-TUUUMB despachurrados amplitud 50 kilómetros cuadrados saltar estallidos cortes puños baterías de tiro rápido Violencia ferocidad regularidad esta baja grave cadencia de los extraños artefactos agitadísimos agudos de la batalla Furia afán orejas ojos narices ¡abiertas! ¡Cuidado! ¡Adelante! qué alegría ver oír olfatear todo todo taratatatata de las metralletas chillar hasta quedarse sin aliento bajo muerdos bofetadas traak-traak latigazos pic-pac-pum-tumb extravagancias saltos altura 200 metros de la fusilería Abajo abajo al fondo de la orquesta metales desguazar bueyes búfalos punzones carros pluff plaff encabritarse los caballos flic flac zing zing sciaaack ilarí relinchos iiiiiii pisoteos redobles 3 batallones búlgaros en marcha croooc-craaac (lento) Sciumi Maritza o Karvavena ZANG-TUMB-TUUUMB toctoctoctoc (rapidísimo) croooc-craaac (lento) gritos de los oficiales romper como platos latón pan por aquí paak por allí BUUUM cing ciak (rápido) ciaciacia-cia-ciaak arriba abajo allá allá alrededor en lo alto cuidado sobre la cabeza ciaak ¡bonito! Llamas llamas llamas llamas llamas llamas presentación escénica de los fuertes allá abajo detrás de aquel humo Sciukri Pasciá comunica telefónicamente con 27 fortalezas en turco en alemán ¡aló! ¡¡Ibrakim!! ¡Rudolf! ¡aló! aló, actores papeles ecos sugerentes escenarios de humo selvas aplausos olor a heno fango estiércol ya no siento mis pies helados olor a salitre olor a podrido Tímpanos flautas clarines por todos los rincones bajo alto pájaros piar beatitud sombras cip-cip-cip brisa verde rebaños don-dan-don-din-beeeé Orquesta los locos apalean a los profesores de orquesta éstos apaleadísimos tocar tocar Grandes estruendos no borrar precisar recortándolos ruidos más pequeños diminutísimos escombros de ecos en el teatro amplitud 300 kilómetros cuadrados Ríos Maritza Tungia tumbados Montes Ródope firmes alturas palcos gallinero 2000 shrapnels brazos fuera explotar pañuelos blanquísimos llenos de oro srrrrrrrrr-TUMB-TUMB 2000 granadas lanzadas arrancar con estallidos cabelleras negrísimas ZANG-srrrrrrr-TUMB-ZANG-TUMB-TUUMB la orquesta de los ruidos de guerra inflarse bajo una nota de silencio sostenida en los altos cielos balón esférico dorado que supervisa los tiros”(16)

(1) Sobre las diferencias entre “horror” y “terror”, “angustia” y “temor” ver DUQUE, Félix. Terror tras la posmodernidad. Abada. Madrid. 2004.
(2) “Es muy posible que lo registrado como 11-S sea la representación más perfecta de un acontecimiento histórico desde todos sus ángulos y perspectivas, pero eso no convierte, sino que más bien dificulta, su presentación en algo artístico, y no por exceso de velos, sino precisamente por lo contrario, exceso de imágenes.” LEITE, Arturo. El arte. El terror y la muerte. Adaba. Madrid. 2006.
(3) DEBROCK, Guy.
(4) Declaraciones de Stockhausen tras los atentados de NY en una rueda de prensa durante el Festival de Música de Hamburgo. (2001)
(5) SARMIENTO, J. Antonio. Las palabras en libertad. Antología de la poesía futurista. Hiperión. Madrid. 1986.
(6) DUVIGNAUD, Jean. Herejía y Subversión. Icaria. 1990.
(7) SARMIENTO, J. Antonio. Marinetti: La Radio Futurista. Cuenca. 1993.
(8) “En la actualidad en el movimiento futurista participan monárquicos, comunistas, republicanos y fascistas. En Milán, donde se ha fundado recientemente un semanario político, “Il Principe”, que formula, o trata de formular, las teorías que Maquiavelo preconizó en la Italia del siglo XV; a saber, que la lucha que divide a los partidos locales y lleva a la nación al caos no puede ser enterrada más que por un monarca absoluto, un nuevo César Borgia que se pondría a la cabeza de los partidos rivales (…)Marinetti, que en conjunto no ha cesado de exaltar la guerra, ha publicado un manifiesto para demostrar que la guerra constituía el único remedio higiénico para el universo. Participó en ella como capitán de su batallón de carros, y su último libro, La alcoba de acero, es un himno entusiasta en favor de los carros. Marinetti ha escrito un folleto titulado Fuera del comunismo en el que desarrolla sus doctrinas políticas -si es que pueden calificarse de doctrinas las fantasías de este hombre-, que están lenas de ingenio a veces y que siempre son raras.(…) . D’Annunzio nunca ha tomado posición pública respecto al futurismo. Hay que señalar que el futurismo, en su nacimiento, surgió expresamente contra D’Annunzio. Uno de los primeros libros de Marinetti tenía por título Les Dieux s’en vont, d’Annunzio reste. Aunque durante la guerra los programas políticos de Marinetti y de D’Annunzio hayan coincidido en todos los puntos, los futuristas han permanecido antid’annunzianos. Prácticamente no han demostrado interés alguno por el movimiento de Fiume, aunque luego hayan participado en las manifestaciones”. GRAMSCI, Antonio. Extraído de “Literatura y Revolución” de León Trotsky, 1924.
(9) La siguiente información puede ser contrastada en CUSIEL, G. Suzanne. Music as torture/Music as weapon. Transcultural Music Review. #10 (Diciembre 2006) ISSN 1697-010 (versión online http://www.sibetrans.com/trans/trans10/cusick_eng.htm 1/05/07) ALTMANN, Jürgen. Acoustic weapons. A prospective Assessment. Science&Global Security. Volume 9 pp 165-234. Taylos and Francis. 2001. (versión online http://www.princeton.edu/~globsec/publications/pdf/9_3altmann.pdf 1/05/07) El proyecto SPIRAWL (Sound Proofed Institute of Research into Acoustic Weapons Logistics) del colectivo de Artistas BATTERY OPERATED es una exploración de las armas acústicas y sonoras. http://www.batteryoperated.net/spirawl/index.html
(10) Energía cinética (porras, pelotas de goma) Barreras y obstáculos, Eléctricas (Pistolas eléctricas, Bastones eléctricos, Redes eléctricas, Ropa eléctrica) Energía dirigida (magnetismo dirigido, iluminadores laser) Químicas (Gases lacrimógenos, bombas fétidas, incapacitantes, pegamentos, inmovilizadotes) Biológicas (narcóticos, microorganismos, material genético)
(11) http://science.howstuffworks.com/lrad.htm/printable (1/05/07) http://www.defense-update.com/products/l/LRAD.htm (01/05/07)
(12) Las tiendas Bang$Olufssen han incluido en sus tiendas lo que se ha venido a llamar “disuasor de individuos no comerciales” basado en la emisión frecuencial de un infrasonido. Este infrasonido argrede el tímpano del adolescente, un adulto no lo oiría, de forma continua hasta que este decide por si mismo abandonar la tienda. Esta tecnología ha sido incorporada en estaciones de metro, andenes, y otras plazas para evitar las aglomeraciones. http://tinyurl.com/37veen (5/05/07)
(13) “la premisa es que el sonido puede lastimar seres humanos, sin matarnos, en una amplia gama de maneras. Lo que diferencia el uso del sonido o de la música en el campo de batalla y el uso de sonido en los interrogatorios, es la ubicación declarada del daño. Los teóricos de su uso en el campo de batalla enfatizan el efecto del sonido en el cuerpo, mientras que en el interrogatorio se enfoca desde la capacidad del sonido y la música de destruir la subjetividad” Music as torture… Op.cit.
(14) “Escuchar música puede disolver la subjetividad, llevando a la persona a un estado paradójico que es simultáneamente una experiencia altamente corporeizada y descorporeizada, en la intensidad con que la música hace que uno olvide elementos importantes de la identidad propia, y se pierda la noción de tiempo transcurrido” Music as torture… Op.cit.
(15) Music as torture… Op.cit.
(16) “Atravesemos una gran capital moderna, con las orejas más atentas que los ojos, y disfrutaremos distinguiendo los reflujos de agua, de aire o de gas en los tubos metálicos, el rugido de los motores que bufan y pulsan con una animalidad indiscutible, el palpitar de las válvulas, el vaivén de los pistones, las estridencias de las sierras mecánicas, los saltos del tranvía sobre los raíles, el restallar de las fustas, el tremolar de los toldos y las banderas. Nos divertiremos orquestando idealmente juntos el estruendo de las persianas de las tiendas, las sacudidas de las puertas, el rumor y el pataleo de las multitudes, los diferentes bullicios de las estaciones, de las fraguas, de las hilanderías, de las tipografías, de las centrales eléctricas y de los ferrocarriles subterráneos” RUSSOLO, Luigi. El arte de los ruidos. Cuenca, Centro de Creación Experimental, 1998
(17) El arte de los ruidos. Op.cit.