[Image: A ghostlike “sonographic image” taken from part of Mark Bain’s sound file].
On the 10th anniversary of the 9/11 attacks, sound artist Mark Bain has released the full audio file of the sound of the Twin Towers collapsing, a melancholic howl terrestrially amplified by the region’s geology. You can listen to it here:
What you’re hearing is the “audification of the seismological data record,” as Bain explains it, “which occurred in the area of New York State, New Jersey, and New England during the collapse of the World Trade Center buildings on September eleventh, 2001.”
The data streams were acquired from Columbia University’s Geological survey lab, which run a network of earth monitoring stations in the area; with the closest being 34 km away from the epicenter of the event. A process of data conversion and signal translation was used to make the normally inaudible seismic waveforms both audible and to play back in real-time as the event unfolded. No other processing or effects were added to the tracks. The registration includes four events, two impacts and the two collapses along with the inbetween sounds of the drone of the earth. The heaviest impact of the collapse registered 2.4 on the Richter scale, a signal which traveled throughout the earth.
The piece is not intended as a memorial, Bain adds, but as “a bell-like alarm denoting histories in the making.”
There was a short article in the August 2004 issue of The Wire about sound artist Mark Bain. “Equipped with seismometers,” The Wire writes, Bain “can turn architectural structures into giant musical instruments and demolish buildings with sound alone.” His installations have included “sensing devices, oscillators and the occasional sculptural element” – such as the “six metre high inflatable speaker” featured below.
This is the Sonusphere, formerly installed in the Edith Russ Haus, Germany. The Sonusphere musicalizes the effects of plate tectonics: “Modified seismic sensors pick up the normally unheard movements of the earth and are channeled through the entire building until reaching a ‘crescendo’ in Bain’s sonusphere. Unique in its purpose and design, the sonusphere is essentially a wired, inflatable ball that fills the entire upper floor and takes signals generated from an acoustic network running through the entire architecture. It acts as a low frequency, 360 degree, acoustic radiator translating the sound to its curved walls as physically pulsating sound pressure.” Bain’s work, The Wire explains, references “the ideas of maverick engineer Nikola Tesla.” Tesla’s prolific output and avant-garde electrical ideas inspired Bain to develop “a system for resonating buildings that allowed him to ‘play’ structures. ‘The multi-resonator system I designed could drive waveforms into buildings,’ Bain comments, ‘like giant additive synthesis where you get different beatings of frequencies and shifted harmonics. I was basically designing systems that turned a structure into a musical instrument.'” Elsewhere, we’re told, “the portable earthquake machines [that Bain] showed in Holland in 2001 produced severe tremors that spread through the surrounding area. Then there was Het Paard, a large music venue in The Hague slated for demolition. The oscillators he attached to the building activated the entire structure, inflicting severe damage on parts of the walls and ceilings.” Of course, Bain has been on BLDGBLOG before, where we discuss a musical composition of his made entirely from seismic data recorded during the collapse of the World Trade Center on 9/11 – the trembling of Manhattan turned into a roar of sound. (Listen to an excerpt here).
“In any given instant,” the Discovery Channel reminds us, “one or more rocky plates beneath Earth’s surface are in motion, and now visitors to a California museum exhibit can hear virtually every big and small earthquake simultaneously in just a few seconds off real time. Scientists have captured earthquake noises before, but this is believed to be the first instantaneous, unified recording of multiple global tectonic events, and it sounds like the constant, dull roar of the world’s biggest earthquake chorus.”
The planet, droning like a bell in space.
Of course, the musicalization of the earth’s tectonic plates has come up on BLDGBLOG before, specifically in the context of 9/11 and the collapse of the Twin Towers. Among many other things, 9/11 was an architectural event which shook the bedrock of Manhattan; the resulting vibrations were turned into a piece of abstract music by composer Mark Bain (more info at the Guardian – and you can listen to an excerpt here).
Meanwhile, if somebody set up a radio station – perhaps called Dolby Earth – permanently dedicated to realtime platecasts of the earth’s droning motions… at the very least I’d be a dedicated listener. A glimpse of what could have been: Earth: The Peel Sessions.
In any case, if I could also remind everyone here of an interview with David Ulin, in which he discusses the intellectual and philosophical perils of earthquake prediction – the topic of his excellent book, The Myth of Solid Ground. One of the predictors discussed in Ulin’s book, for instance, spends his time “monitoring a symphony of static coming from an elaborate array of radios tuned between stations at the low end of the dial.”