The Nuclear Opion

Five years after the earthquake and tsunami that triggered the unprecedented trio of meltdowns at the Fukushima Daiichi nuclear power plant, scientists and engineers are struggling to control an ongoing crisis. What’s next for Fukushima? What’s next for Japan? And what’s next for a world that seems determined to jettison one of our most important carbon-free sources of energy? Despite the catastrophe—and the ongoing risks associated with nuclear—a new generation of nuclear power seems poised to emerge the ashes of Fukushima. NOVA investigates how the realities of climate change, the inherent limitations of renewable energy sources, and the optimism and enthusiasm of a new generation of nuclear engineers is looking for ways to reinvent nuclear technology, all while the most recent disaster is still being managed. What are the lessons learned from Fukushima? And with all of nuclear’s inherent dangers, how might it be possible to build a safe nuclear future?

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FM Synthesis

FM synthesis is short for frequency modulation synthesis . Simply put, FM synthesis uses one signal called, the “modulator” to modulate the pitch of another signal, the “carrier”, that’s in the same or a similar audio range. This creates brand new frequency information in the resulting sound, changing the timbre without the use of filters. FM synthesis can create both harmonic and inharmonic sounds. To synthesize harmonic sounds, the modulating signal must have a harmonic relationship to the original carrier signal. As the amount of frequency modulation increases, the sound grows progressively complex. It was discovered in the 1967 experiments of John Chowning at Stanford University. At first, Chowning was using complex waveforms to modulate the pitch of simple sine waves. This resulted in supersonic signals at frequencies over a million Hertz. [FISEA 1988] Workshop: John Chowning, Zack Settel & Ernst Bonis – FM-Synthesis/Psycho-acoustics. Yamaha...

Genesis P-Orridge

Last month, industrial performance artist and provocateur Genesis P-Orridge performed her final concert at London venue Heaven. It wasn’t just a farewell to her audience, but also a means for Genesis P-Orridge to bid farewell to herself. Recently she told the New York Times that the course of her chronic myelomonocytic leukaemia meant that she had “less optimistically, a year, maybe six months. And then I’m on the downward slope to death”. As with the Fall’s Mark E Smith in January this year, it’s difficult to imagine the UK music underground without this constant fixture. The death was confirmed by Genesis's daughters, Genesse and Caresse, the musician and artist, who had been battling leukaemia for two-and-a-half years, was 70. “It is with very heavy hearts that we announce the passing of our beloved father, Genesis Breyer P-Orridge,” Caresse and Genesse P-Orridge said in a statement shared online. “S/he will be laid to rest h/er other half, Jaqueline “Lady Jaye” Brey...

Generative Music

Generative music is a term popularized by Brian Eno to describe music that is ever-different and changing, and that is created by a system. Eno is also credited with inventing the phrase “ambient music,” first using the term to describe his 1978 release Ambient 1: Music for Airports . A generative piece sounds different every time it is played. The first indications of generative music date from the composer Johann Philipp Kirnberger in 1757, he wrote a work entitled "Musikalisches Wrfelspiel" based on a series of templates written by him, which he modified according to the result of rolling dice. Generative Music 1 is the name of a floppy disk (composed by Brian Eno in 1996). The work, made up of twelve pieces, was not recorded in an audio format, but in '.skp' format, and therefore, to be able to listen to it you would need the Sseyo Koan player software, a real-time music generation system. As the Sseyo Koan is an algorithmic generative software, each...

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