With a modern twist, the nostalgic cassette tape may be resurging in the form of DNA. Previously used solely as a medium for information storage, researchers have now fused the concept with the style of 1980s cassette tapes, leading to the innovation termed DNA cassettes.
Xingyu Jiang and his colleagues at the Southern University of Science and Technology in Guangdong, China, crafted these cassettes by printing synthetic DNA molecules onto plastic tapes. “The sequences can be designed in such a manner that the order of DNA bases (A, T, C, G) conveys digital information just like binary code (0 or 1) in a computer,” he remarks. This allows for the storage of all forms of digital files, from text and images to audio and video.
A significant challenge of earlier DNA storage methods was accessing the data. To remedy this, the team implemented a series of barcodes on the tape to simplify searching. “It’s akin to locating a book in a library,” explains Jiang. “You first identify the shelf corresponding to the book and then locate the specific book on that shelf.”
The tape is also treated with a protective coating dubbed “crystal armor,” made from zeolite imidazolate, which ensures the integrity of the DNA. This allows the cassettes to retain data for centuries without degradation.
While classic cassette tapes can hold around 12 songs per side, the new 100-meter DNA cassette can house over 3 billion pieces of music comprising 10 megabytes of songs. This results in an astounding total data storage capacity of 36 petabytes, comparable to a 36,000 terabyte hard drive.
However, Jiankai Li warns that if one were to place the new tape into an old-school Walkman, it wouldn’t produce sound. “Our tapes contain DNA molecules,” he notes. “It’s similar to trying to play a photograph on a record player—the formats simply don’t align.”
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fortunately for us, the memory of the Covid lockdown has become a distant past. After several years, we’ve stepped back into life, rebuilding our careers and relationships, exploring the world anew. However, that’s not the case for everyone. Acclaimed composer Jessica Curry has crafted a captivating and refined soundtrack and has recently released projects like Everyone’s Dear Esther and Esther’s Dear Esther. After being diagnosed with a degenerative illness in her mid-20s, she began her own quarantine at the onset of the pandemic, remaining at home for almost five years. During that time, she was unable to create or write, and her world felt as though it was crumbling.
“Like many, I endured a challenging pandemic,” she reflects. “I witnessed my father passing away on Zoom, along with my aunt and other family members. Following the discovery of a tumor in my ovaries, I had major abdominal surgery, but the surgery was unsuccessful in 2022. It was only then that I found myself able to listen to music again.”
Last year, the turning point came when Curry decided to revisit her music. Although she wasn’t ready to start composing, she began organizing her works after years of low productivity. This led to the creation of *Shield Song*, an album that prominently features new interpretations of her favorite pieces. The album is enveloped in an ethereal choir sound performed by the esteemed London choir. “Shield Songs represent a gathering, almost a manifesto. What do I stand for as a composer? What is my legacy? I thought it might be my final statement.”
A recording session aimed at capturing the song with a beautiful ethereal voice. Photo: Jessica Curry
The album comprises four pieces that evoke joy. It is based on a game about an apocalypse viewed through the lens of a quaint English village, for which Curry received a BAFTA for the soundtrack. The game was developed by The Chinese Room, a studio co-founded by Curry and her husband, Dan Pinchbeck. He praised the stunning idyllic surroundings and deeply emotional scores, influenced by composers Elgar and Vaughan Williams. This music remains among her most beloved works.
“I’ll still get emails about it in ten years,” she shares. “So many fans have tattoos inspired by it. I often receive messages from people who listen to death metal but love this soundtrack. While the game centers on human relationships, I wanted to reimagine the music.”
Another reason *Rapture* resonates in the new album is its thematic parallel between isolation at the end of the world and experiences during the Covid years. “Games are about the human experience—what does it mean to love?” she reflects. “Interestingly, many themes connect to global events, like the pandemic, and how we cope with them.” Curry describes the shield songs as a reflection on love and sorrow, yet they also offer a hopeful exploration of human resilience. The four tracks draw from the enduring light of her anti-war requiem, first performed in 2011, responding to the nuclear bombings of Hiroshima and Nagasaki, infused with a sense of optimism for the future.
The album also features a blend of works from The Chinese Room’s VR sci-fi adventures. The titular track is a haunting choral piece inspired by John Dowland, while the remaining tracks lean toward experimentation, showcasing her evolving musical direction. “You could say it’s mine, but it blends minimalism with a classical twist, and it evokes a cinematic quality,” Curry explains. “It has that epic space opera feel, and I loved how everything came together in the score.”
After selling The Chinese Room to SUMO Digital in 2018, Curry set off on her own journey, while Pinchbeck remained as creative director, guiding the BAFTA Award-winning game *Oil Rig Horror Adventure*, before departing in 2023. “Maybe we’re insane,” she muses, “but I believe we have a talent for creating games, Dan and I. We have stories to tell.” Although Curry is still battling illness and apprehensive about going out—especially given the aggressive attitudes some have towards masked individuals—she has returned to composing.
“For the first time in a long while, I can truly hear music in my mind,” she expresses. “I never imagined I’d experience that again, and I believe it will yield something new. This will be Jessica Curry, but I am not the same person I was before. When something profoundly bad happens, you transform.”
Humpback whale songs have statistical patterns in their structure, but they are very similar to those found in human language. This does not mean that songs convey complex meanings like our sentences, but that whales may learn songs in a similar way to how human infants begin to understand language. It suggests.
Only male humpback whales (Megaptera novaeangliae) When you sing, actions are considered important to attract peers. The songs are constantly evolving, and new elements appear and spread in the population until old songs are replaced with completely new ones.
“I think it's like a standardized test. Everyone has to do the same task, but changing or decorating to show that they're better at tasks than others can be done. You can do it.” Jenny Allen At Griffith University, in the Gold Coast, Australia.
Instead of trying to find meaning in songs, Allen and her colleagues were looking for innate structural patterns similar to those found in human language. They analyzed eight years of whale songs recorded around New Caledonia in the Pacific Ocean.
The researchers began by creating alphanumeric codes to represent all the songs on every recording, including a total of around 150 unique sounds. “Essentially it's a different sounding group, so maybe a year will make a groaning cry. So we may have an AAB.
Once all the songs were encoded, a team of linguists had to understand how best to analyze so much of the data. The breakthrough occurred when researchers decided to use an analytical technique that applies to methods of discovering words called transition probability.
“The speech is continuous and there is no pause between words, so infants must discover the boundaries of the word.” Invalanon At Hebrew University in Jerusalem. “To do this, use low-level statistics. Specifically, if they are part of the same word, the sounds are more likely to occur together. Infants Use these dips in the possibility of discovering the boundaries of words following another sound.”
For example, the phrase “cute flower” intuitively recognizes that the syllable “pre” and “tty” are more likely to go together than “tty” or “flow.” “If there is a similar statistical structure in a whale song, these cues should also help segment it,” Arnon says.
Using the alphanumeric version of Whale Song, the team calculated the probability of transition between successive sound elements and cut it when the previous sound elements were amazing.
“These cuts divide the song into segmented subsequences,” Arnon says. “We then looked at their distribution and, surprisingly, discovered that they follow the same distribution as seen in all human languages.”
In this pattern called Zipfian distribution, the prevalence of less common words drops in a predictable way. Another impressive finding is that the most common whale sounds tend to be shorter, as is the case with the most common human language.
Nick Enfield At the University of Sydney, who was not involved in the research, it says it is a novel way to analyze whale songs. “What that means is when you analyze it War and peacethe most frequent words are the next twice as often, and researchers have identified similar patterns in whale songs,” he says.
Team Members Simon Carby The University of Edinburgh in the UK says he didn't think this would work. “I will never forget the moment the graph appears. It appears to be familiar from human language,” he says. “This has made me realize that it uncovered a deep commonality between these two species, separated by tens of millions of years of evolution.”
However, researchers emphasize that this statistical pattern does not lead to the conclusion that whale songs are languages that convey meaning as we understand them. They suggest that the possible reason for commonality is that both whale songs and human languages are culturally learned.
“The physical distribution of words and sounds in languages is a truly fascinating feature, but there are millions of other things about languages that are completely different from whale songs,” Enfield says.
In another study It was released this week, Mason Young Blood At Stony Brook University in New York, we found that other marine mammals may also have structural similarities to human language in communication.
Menzeras' law predicting that sentences with more words should consist of shorter words were present in 11 of the 16 species of disease studied. The ZIPF abbreviation law was discovered in two of the five types in which the available data can now be detected.
“To sum up, our research suggests that humpback whale songs have evolved to be more efficient and easier to learn, and that these features can be found in the level of notes within the phrase, phrases within the song. I'm doing it,” Youngblood says.
“Importantly, the evolution of these songs is also biological and cultural. Although some features, such as Menzerath's Law, can emerge through the biological evolution of voice devices, Other features such as the rank frequency method of ZIPF are [the Zipfian distribution]there may be times when cultural communication of songs between individuals is necessary,” he says.
“I have to show you this – it’s going to change your life!” is the very Imogen Heap way of greeting.
She smiled at me and showed off a mysterious black device. The musician and technologist is an evocative and eccentric presence even on video calls, speaking with passion and changing his mind like a rally driver turning a corner. She swivels me from the kitchen floor to the living room of her parents’ home in Havering, near London. It’s familiar to the thousands of fans (aka Heapsters) who tune in to watch her improvise on the grand piano on livestreams. “By the way, that’s the tent I’ve been sleeping in,” she laughed, enjoying the surprise, pointing to an attractive white tent at the edge of the manicured lawn.
Her fans use the term “Imogeneration” to describe someone who changed the course of pop music. Heap’s theatrically layered vocals and expressive production on the albums Speak for Yourself (2005) and Ellipse (2009) have inspired the likes of Ariana Grande, Billie Eilish, and Casey. It influenced chart giants such as Musgraves and popularized the use of the vocoder (later heard in the works of Kanye West and Bon Iver). She has been widely sampled, especially by hip-hop and ambient musicians, and in 2010 became the first woman to win a Grammy Award in the engineering category.
Since then, Heap has dedicated his career to shaping music through technology, and shaping technology through music. Her fast-paced projects include The Creative Passport, which envisions a more accessible way for musicians to store and share personal data, and a pioneering project that lets you record loops of sound and add details like vibrato and reverb. These include the MiMU glove, a wearable instrument. In real time just by moving your wrist.
But she didn’t create the black device she’s brandishing at me. Plaud Note is a voice recorder that uses ChatGPT. She laughed and explained that this converts our conversations into text and generates a summary of our thoughts. Recording interviews is typically the job of journalists, but for the past two years, Heap has been collecting data about herself for a new project: a comprehensive AI assistant called Mogen (pronounced like Imogen). Our interviews become training data. The text prepares Morgen to answer questions about Heep’s life and work, and the audio trains Morgen to reproduce her voice. “Everything I’ve ever said or done, I want Morgen to have access to,” Heap says.
Heap performance in 2010. Photo: Samir Hussain/Getty Images
Mogen was born as a premium feature of Heap’s fan app, theoretically giving Heapsters a way to access Heap’s sentiments and opinions on certain topics. Anything Mogen can’t answer is forwarded to Heap’s (human) assistant. “I don’t want to repeat myself. I want to make sure people have the information they need, when they need it,” Heap says. “In a way, I have been working on [her] For the rest of my life.”
But Heep’s ambitions for Morgen are rapidly expanding. Beyond its role as a kind of living autobiography, Heap hopes to become a point of “omniscient connection” that can streamline workflow and deepen the creative process in the studio and on stage. Future versions of Mogen will explore how Heap can improvise live, become a live collaborator, process fan musical suggestions in real time, and feed biometric and atmospheric data to create You’ll be able to create performances that feel “realistic.”
“I want to [be able to] “Right now, we can create broad orchestral pieces and angular drums with a variety, richness, and tenderness that you just can’t get in real time with off-the-shelf equipment,” says Heap.
All of this data collection was inspired by a series of life-changing experiences that convinced Heap of his current power. Heap, who discovered she had ADHD during the pandemic and shortly after her sister’s death, said: “We’re using our most precious resource, our time, to do these mundane things.” He explains what he noticed. She hired a studio assistant to reduce distractions and improve focus, and to understand the sense of presence, or what she poetically calls “an immaterial bubble without time and space.” I concentrated.
The journey included an introduction to Wim Hof breathing techniques by fellow music experimenter John Hopkins and a visceral response to music by noise artist Pullian, which left her shocked on her kitchen floor. Ta. She likens the latter to childbirth. “That was the only time in my life that I felt like I wasn’t in control of my body.”
The result of this new focus, which she will discuss in more detail this week at London’s Southbank Center, is a worldview that sees technology as both a problem and a solution. On the other hand, the capitalist system and attention economy make us “greedy.” “We have become desensitized,” she says, but in the meantime, we might be able to invent new tools that foster creativity and connection over profit. “I want to dedicate my life to it,” she says seriously.
Her vision isn’t exactly utopian. She speculates that we “will go through this period of running away” from dangerous AI. But she firmly believes there is a bright future on the other side of this potential disaster. Even so, Heap remains perplexingly sour about the possible risks. “You can’t stop progress,” she shrugs, dismissing widespread concerns about the ethics of scraping other people’s data to build profitable AI systems and the environmental costs of all that processing power as “very simple.” “I scoff. It’s based on fear.”
The most direct result of her recent soul-searching will be a 14-minute track released in three parts via a new site called The Living Song. The first part, “What Have You Done to Me,” will be available at the end of October and will allow users to chat with Mogen and remix or sample the song. The idea is to demonstrate that ethical and compensatory collaboration between artists, AI, and fans is possible, with one-third of all profits going to Brian Eno’s climate change foundation Earth%. Masu. “This song gives you the tools to collaborate and love with different people,” she emphasizes. “I don’t want to be kept in a basement. I’ve never felt protective or possessive. [my music]”
The new song, which tells the story of Heap and her relationship with herself and Morgen, also reimagines the melody of “Hide and Seek,” her first big hit and a song that has had a remarkable life in its own right. After being used as the soundtrack for The O.C.’s dramatic second season finale in 2005, the scene was parodied in a Saturday Night Live sketch that looped her “Um, what are you talking about?” It went viral. lyrics. Two years later, Jason Derulo sampled the same elements in his debut single “Whatcha Say,” which topped the US charts. Heap himself included the song in his score for Harry Potter and the Cursed Child, and Palestinian singer Nemasis used the opening bars of a video about the devastation in Gaza.
AI optimists see similarities between this sampling (using parts of someone else’s work to create something new) and generative AI, which processes vast amounts of existing material to create music. I claim that there is. But major labels Sony, Universal and Warner are suing two AI startups for processing their copyrighted music without their permission.
Ms Heap said her project was trying to move on from the days when “people were always trying something and not evaluating it”. For example, an unreleased demo called “A New Kind of Love” cut from her band Frou Frou’s 2002 album somehow ended up on the desk of Australian drum and bass musician Veerre Cloud. His loose remix, released in 2019, has since been streamed over 400 million times on Spotify. After researching, Heap’s team discovered that there are more than 60 other tracks that use the song without credit. “We had to say: Hello, we’re glad you put it out there, but could we have some?”
This is why The Living Song project is so important, she says. Treating each song as a separate entity allows Heap to set and work around its own rules for interaction and collaboration, as it has throughout its career. It’s like labels and artists fighting over AI services.
Previously, I asked what happens if I don’t want my data (my words in the conversation) to be part of Mogen’s training set. Heap said that for data protection reasons, Morgen would only incorporate her answers, not my questions, and the same would be true for fan submissions. She hypothesizes that in the future, my own AI assistant will negotiate with Morgen and inform me of my preferences in advance. She then added with a wry smile that if we didn’t like the data, “I’d probably leave it alone.” [the interview] short”.
But certainly, conversation is also a type of collaboration. What is the answer to a question without context? As I was thinking about this, Heap sent me a summary of the call that Plaud had generated. One line reads: “Katie Hawthorn shares feelings of paranoia, while Imogen Heap expresses excitement.”
This mission to form her own archive through a cleverly automated digital twin, rooted in the past but designed to extend and even predict Heap’s present, is a battle with the music industry over ownership. It makes sense in the context of a career spent in . But it also raises bigger, more difficult questions about heritage, voice, creativity, and control, and Heap aims to fundamentally reshape music, and perhaps life, as we know it. Given her outpouring of persuasion and deep cultural influence, it’s hard to resist her. “I’m not a guru,” she jokes. “still!”
During sleep, we can sporadically find patterns of neural activity in areas of the bird's brain that are activated during song production. Recently, it was found that patterns of activity during these silent plays can be detected in the vocal muscles of sleeping birds. In a new study, researchers from the University of Buenos Aires and CONICET employed a dynamic systems model for song production in suborder birds. Tyrani This is to convert the vocal muscle activity during sleep into a synthetic song.
Great Kiskadee (Pitangus sulfuratus) July 2011, Beeville, Texas, USA. Image credit: Tess Thornton / CC BY-SA 3.0 Deed.
“Dreams are one of the most intimate and elusive parts of our existence,” said Dr. Gabriel Mindlin, senior author of the study.
“It's very moving to know that we share something with species so far away. And the possibility of entering the mind of a dreaming bird – of hearing the sounds of its dreams. is a temptation that cannot be resisted.”
A few years ago, Dr. Mindlin and his colleagues discovered that these patterns of neuronal activity were transmitted to the syringe muscle, the bird's vocal organ.
They are able to capture sleeping birds' muscle activity data via recording electrodes called electromyograms and convert it into a synthetic song using a dynamical systems model.
“For the past 20 years, I have been studying the physics of bird calls and how muscular information is translated into calls,” Dr. Mindlin said.
“In this way, we can use the muscle activity patterns as time-dependent parameters in a bird song production model and synthesize the corresponding song.”
Trill electromyographic activity recorded during sleep and synthetic sounds generated by a dynamic model.Image credit: Doppler other., doi: 10.1063/5.0194301.
Many birds have complex muscle structures, so translating syringe activity into calls is a bit difficult.
“For this first piece, we chose Wonderful Kiskadi (Pitangus sulfuratus)“It's a member of the flycatcher family, a species for which we recently discovered the physical mechanism of its song and showed some simplifications,” Dr. Mindlin said.
“In other words, we selected species for which the first steps of this program were viable.”
The authors heard the sound emerge from the data of birds dreaming of territorial battles by raising the tops of their wings, a gesture reminiscent of calls used during daytime conflicts. I was incredibly moved.
“Imagining that lonely bird reenacting its territorial battles in my dreams really resonated with me. We have more in common with other species than we often realize.” said Dr. Mindlin.
This study presents biophysics as a new exploratory tool that can open the door to the quantitative study of dreams.
“We are interested in interacting with dreaming birds using these syntheses that can be implemented in real time,” Dr. Mindlin said.
“And for species that learn, to address questions about the role of sleep during learning.”
Music can stimulate emotions such as joy, sadness, and anger
Tim Roberts/Getty Images
Scientists have discovered musical patterns that can make our hearts beat faster or make our stomachs feel like they're doing somersaults.
When a chord sequence of three or more notes played at the same time goes in a different direction than we expect, it seems to cause a strong sensation around the heart, but it follows an easily predictable pattern. The thing causes strong sensations around the heart. As if it hit us directly in the gut.
“Music has a unique power to stir emotions that cannot be expressed in words,” he says. Tatsuya Daikoku at the University of Tokyo in Japan. “It's not just an auditory experience, it's a physical experience. Sometimes when music comes on, my body shivers or I feel a warmth around my heart, and that's a feeling that's hard to describe in words.”
Researchers have already shown that music can evoke strong emotional responses, but pianist and composer Daikoku and his colleagues want to know where in the body people feel those emotions. I thought. To find out, they first used analysis and statistics software to analyze his 890 songs from the US Billboard Hot 100 chart.
The software determined that the song's chord-to-chord sequences were various variations with high or low levels of both surprise and uncertainty. For example, in some sequences, a low surprise, low uncertainty code may be followed by a low surprise, low uncertainty code, or a low surprise, low uncertainty code may be followed by a low surprise, low uncertainty code. , there are also sequences of codes with low uncertainty but high surprise.
From this, the researchers created 92 musical segments consisting of four chord sequences. Each segment represents one of eight different combinations of surprise and uncertainty. He then asked 527 volunteers to listen to various sets of all eight chord patterns while viewing a silhouette of a human body online.
Listeners were instructed to click where they felt a physical reaction within 10 seconds of listening to the music. They then completed an online survey about the emotions they felt when they heard the chords.
The researchers found that if the first three chords followed an easily predictable pattern, the main difference in physical sensation had a lot to do with what happened on the fourth chord. If that fourth chord follows the expected pattern, people will feel it in the abdomen, but if it deviates from the expected pattern, they will feel it around the heart.
Regarding emotions, participants reported greater feelings of calm, relief, contentment, nostalgia, and empathy when chord progressions followed a predictable pattern. If his first three chords were predictable and his fourth chord unsurprising, even if it was relatively difficult to predict, it was generally less awkward and less predictable compared to other chord arrangements. Feelings of anxiety were reduced.
The results of this study “revealed how music affects not only our ears, but also our bodies and minds,” Daikoku said. “Music has the power to elicit these strong, embodied emotions, leading us to understand our inner emotional landscape in a way that words cannot.” With this understanding, someday That could lead to better mental health interventions, he says.
Every Christmas season, it becomes clear once again that there are amazingly accomplished singers like Mariah Carey and George Michael. Their songs stir strong emotions. Singing involves perhaps the most complex and mostly hidden movements that humans and animals can perform. To become a good singer, you need to learn how to coordinate the movements of hundreds of muscles in your body with great precision. Therefore, it requires a lot of talent and practice.
Voice box training: unexplored territory We all know that athletes spend a lot of time exercising their limbs and body muscles, but why not try training your voice box muscles? “Surprisingly, little is known about the effects of exercise on these muscles or whether they respond to training in humans,” said Professor Koen Elemans of the University of Southern Denmark, an expert in sound production. says. Close to their precious voice box.
This study found that male songbirds require daily singing practice to improve vocal muscle health and song quality. This is an important factor in attracting mates and maintaining social bonds.
Insights from Songbirds
New research published today (December 12th) in a prestigious journal nature communications Male songbirds report that they need to sing daily to strengthen their vocal muscles and produce beautiful songs. And if the female didn’t notice, she notices. “Singing is extremely important for songbirds. They sing to impress potential partners, protect their territory, and maintain social bonds,” said Iris, lead author of the study. Dr. Adam says.
Researchers have shown that songbirds’ vocal muscles require training to keep them at peak performance. And it’s not just training; what’s especially important is singing practice. The study was carried out by an international team of researchers from the University of Southern Denmark, Leiden University, Umeå University and the University of Vermont, and led by Assistant Professor Iris Adam and Professor Koen Elemans from the Department of Biology at the University of Southern Denmark. .
Vocal muscles also need exercise
“It has long been known that songbird calls are controlled by fast vocal muscles, but it remains to be seen whether and how these muscles respond to exercise, similar to leg muscles. “Until now, we knew very little about it,” says Iris Adam. In their study, the researchers showed that when songbirds don’t use their vocal muscles at all, their voices become significantly slower and weaker within a few days. But even if the bird only made a mumble, after seven days the vocal muscles had already lost 50% of their power.
Therefore, in order for songbirds to remain attractive, they may need to invest a lot of time and energy into singing every day.
Unique features of the vocal muscles While studying the vocal muscles of zebra finches, the research team made another very important discovery. “When we go to the gym to work out our leg and arm muscles, we typically slow down our movements,” said study author Pell Stoll, an expert in human muscle exercise physiology. To tell. But songbird vocal muscles, like the muscles in their limbs, don’t get stronger or slower with exercise, they get weaker and faster. This is the opposite of normal limb and body muscles. “We think this reverse training may be unique to the vocal muscles and may be true for everyone.” vertebrateBecause all vocal muscles are developmentally related, ”says Iris Adam.
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