This was found during the tracking of iceberg A53a as it disintegrated near South Georgia Island in early 2008, suggesting that the iceberg(s) involved in generating the sound were most likely between Bransfield Straits and the Ross Sea, or possibly at Cape Adare in Antarctica, a well-known source of cryogenic signals. Numerous icequakes share similar spectrograms with Bloop, as well as the amplitude necessary to spot them despite ranges exceeding 5,000 km (3,100 mi). The NOAA Vents Program has attributed Bloop to a large icequake. While the audio profile of Bloop does resemble that of a living creature, the source was a mystery both because it was different from known sounds and because it was several times louder than the loudest recorded animal, the blue whale. Īccording to the NOAA description, it "rises rapidly in frequency over about one minute and was of sufficient amplitude to be heard on multiple sensors, at a range of over 5,000 km (3,100 mi)." NOAA's Christopher Fox did not believe its origin was man-made, such as a submarine or bomb. The Upsweep's level of sound (volume) has been declining since 1991, but it can still be detected on NOAA's equatorial autonomous hydrophone arrays. Scientists/researchers of NOAA speculate the sound to be underwater volcanic activity. The source can be roughly located at 54°S 140°W / 54°S 140°W / -54 -140, between New Zealand and South America. The sound appears to be seasonal, generally reaching peaks in spring and autumn, but it is unclear whether this is due to changes in the source or seasonal changes in the propagation environment. The source level is high enough to be recorded throughout the Pacific. It consists of a long train of narrow-band upsweeping sounds of several seconds in duration each. This sound was present when the Pacific Marine Environmental Laboratory began recording its sound surveillance system, SOSUS, in August 1991. Upsweep is an unidentified sound detected on the American NOAA's equatorial autonomous hydrophone arrays. The 48 images collected display all four seasons in Australia.Problems playing this file? See media help. “Instead of interpreting this into a picture, what if we could translate these variations into this sonic experience – something that could stimulate our brains in a different way.” With the Coral Sea, the brothers created a melody that focused on a year’s worth of data from the Aqua-MODIS satellite, extracted from a series of 32-day average global image of chlorophyll a-, a specific form of chlorophyll used in photosynthesis. Through this technology, they are able to detect ocean color at a resolution above what humans are capable of seeing. “We started to toss around the idea of capturing and isolating the individual wavelength components,” Vandermeulen said. Our brain then interprets the signals from these cells so that we see the perceived color of an object.” At NASA, some Earth-observing satellites have detectors that act like human cone cells, sensitive to specific wavelengths of light. “When we’re looking at an object, light enters our eyes and stimulates our cone cells. Goddard’s Ocean Ecology Laboratory is dedicated to this. “The whole root of everything we’re seeing with our eyes is based on the sensitivity of these red, green and blue photoreceptors on photons being reflected from everything around us,” Vandermeulen said. The study of ocean color helps scientists gain a better understanding of phytoplankton and their impact on the Earth system. You can really hear the harmonies,” Jon said. It’s three simple instruments plucking along and you can hear when one goes up, one goes down. “It’s a pretty straightforward audio experience. The brothers focused on the data coming from the image’s red, green and blue channels. The program created the music for an ocean color image of the Bering Sea, exploring a satellite that captured an eddy or a circular movement of water. Their website allows anyone to import data to create music for free. He then rebuilt the tool so the translated data could be imported into a digital audio workstation. For Jon that was GarageBand. “ And so I decided to help and told him it wasn’t optional, this was a great idea.” After bugging his brother for data, Jon created a programmatic interface that translated the data into musical notes. “So I have experience doing digital music production because I fancied myself a rockstar,” he joked. Enter Jon Vandemeulen, Vandermeulen’s brother and programmer.
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