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When using the materials, the nature of the concepts used in that sense "displace" the our basic understanding of their behavior. You can perform tests to characterize the materials and components, but there are some general considerations that are taken for granted before any measurement to be performed. Are common experiences that pulling a rubber band, it is thin, or that a ray of light, penetrating into a material such as glass of a lens, or a liquid such as water, deflected (refracted) into the material itself, or even that a droplet of water on the surface of a material with a more or less spherical, which would allow a degree of cohesion with the surface, so condensarvisi. If you know more about the materials, in particular their electromagnetism, you will also remember other properties: for example in an electrical conductor (eg copper) or a natural magnetic material (ferromagnetic or, for example, iron), the same applied electric or magnetic field, what is transmitted respectively depends on the electric permittivity (ε, epsilon) and magnetic permeability of the material (μ, mu).

However, more recently, it was discovered that there are materials that also have the opposite behavior than the logic: the materials auxetici, we talked about above, and swell when pulled, the film based on the lotus has a negative surface tension and are therefore self-cleaning; opal at certain frequencies has a negative refractive index, then it means that the light beam at certain frequencies out of the material and is rejected (by a circuitous route rather than linear in reality). There are also materials such as in the figure, which have negative electric permittivity and magnetic permeability, so that the electric or magnetic field are reflected in practice, rather than transmitted by the material. This is very different from having the insulation, or dielectric, materials that are only bad conductors, and with high losses (but also with a certain transmission) because it gives you a real total shielding of certain frequencies. These solutions

contrary to the logic design can be generically referred to as metamaterials (beyond the materials), which can also be interpreted as meaning that depend on micro-or nanostructure materials that have, in addition to the material (it is clear that the square spiral material in the figure is the key to its operation as a metamaterial).

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Screws, temperalapis


One thing we take for granted is screwed by a twisting of the wrist. This is because the screws have a thread worm, helical, as for example through screws, which are then stopped by a nut or a nut-washer or conical spiral as the screws wood.
The vines are a very ancient history, which begins, he says, Archytas of Taranto, in the fourth century BC, and continues with the Archimedean screw or a screw, which, obviously with very different sizes, was used (and needed) to extract water, but with similar principles, still need to drill the ground. And is not that the drill bit, aside from its greater speed, has a different shape.
This is part of a more general concept, which is typically biomimetic. The nature of work self-assembling materials with helical structures, ie spiral (in the photo you see the spiral fibrils that detach from the plant tissue with the edge of the celery), then the lives of Archytas, having forare il legno, non poteva far altro che proporre un movimento elicoidale, che si adattasse alla disposizione della microstruttura del materiale. Non è un principio poi così strano: una delle macchine primitive che tuttora utilizziamo molto, il temperalapis, è basata sullo stesso principio, quello di applicare una forza di torsione per tradurla in un taglio effettuato con una lama orizzontale (e non è un caso, perché la matita è di legno).
Nel caso del temperalapis come della vite, la forza necessaria al taglio od alla perforazione dev'essere ottimale nè troppo alta, il che danneggerebbe la struttura, né troppo bassa, nel qual caso l'operazione non riuscirebbe.

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Fables and propellers, materials and waste

Prendiamoci una almost break off, but only in appearance: if you think of a traditional fairy tale, like the Three Little Pigs, you become aware that perhaps speaks of three building materials, bricks, and clay, ceramic, wood, material composite nature, and the straw, waste material from any harvest.
The tale, as surely remember, ended with a patent of nobility on the bricks (and the Pig "user") compared to wood and even more than the straw. In practice, because there is a moral meaning in all this, it rewards the time and effort, which is care and attention, leading to use the bricks (which are not found in nature must of course compattare l'argilla, poi cuocerla in un forno per ceramici e farla raffreddare) invece del legno (che nemmeno si trova in natura sotto forma di assi e travi, ma va tagliato dall'albero, rimuovendo poi le parti non strutturali, come corteccia e resina, e portato in una segheria per fargli prendere la forma di semi-lavorato che si desidera: si possono anche usare tronchi interi, ma anch'essi vanno “puliti” e possibilmente trattati) e “peggio” della paglia (che invece si trova in natura, perché è uno scarto di un'altra lavorazione naturale).
Il concetto che lo scarto sia di per sé “cattivo” è un prodotto della nostra cultura industriale, che la natura non ammette. In un'ottica ambientale, the pig "lazy" is what the right thing, ie use of waste material. Gradually, the engineers of the materials are slowly turning to the use of all sorts of waste materials to obtain proper compaction with other materials, such as ashes of incinerators, insulation of cables, rice bran, dried fruit peels, etc.. This suggests that the straw not only biodegradable, it would be a good material as the bricks and wood to build a small house, like the pigs, but of course it should be somehow linked, joint (maybe compacted under pressure, as in examples above). In this case, the lazy pig, but proto-environmentalist sta forse per essere riscattato: all'università di Bath sta venendo su la cosiddetta Bale house, fatta di paglia e canapa, per fini sperimentali, a dimostrare che il problema non è il materiale, ma come viene assemblato. Come dice il Vangelo “La pietra scartata dai costruttori è divenuta testata d'angolo” (certo, bisogna sapere come metterla insieme al resto, quella "pietra").

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smooth surfaces, fractal surfaces and natural surfaces smooth and rough


Se si guardano le strutture naturali dall'alto, in modo da averne una visione bidimensionale, ci si rende subito conto che possono avere tre diversi tipi di struttura:
1. Regolare, con simmetria poligonale, come gli esagoni dei nidi d'ape, oppure circolare, come i all circles of the same diameter frustuli of diatoms.
This is where repetitive tasks are necessary, as the accumulation of nutritional products in cells, for bee nests, or the filtering of sunlight to hold in a single frequency, and therefore maximize the return, as in the case of diatoms. Sometimes the two requirements penetrate, and then you have double symmetry overlapping, circular and hexagonal, as in the diatom in the picture (left).
2. Statistically irregular, such as cell structures of plants
parenchyma, which is mainly concentrated on the pulp of fruits and tubers are formed by polygonal cells with an average of 12.8 sides, which means in pratica che la terza dimensione comincia ad avere una sua importanza, e i "difetti" che si generano nella crescita del tessuto cellulare, man mano che interagisce con l'ambiente, vengono "corretti" con ispessimenti ed assottigliamenti delle pareti cellulari, come abbiamo già visto in precedenza in questo blog.
3. Frattali, laddove la struttura sia totalmente cristallina e quindi non tolleri nessuna pur piccola modificazione o deformazione in corso d'opera, come nel caso dei fiocchi di neve. La caratteristica della simmetria frattale è quella dell'infinita ripetizione nello spazio in tutte le direzioni, anche ad un livello nanometrico, dovuta all'elevato livello di curvatura delle superfici. E' interessante notare come in realtà le fractal structures, such as the Kagome structure in the picture (right) are always formed macroscopically by a simple set of symmetries.
follows from these considerations, we see in reality what happens is a gradual transition from two-dimensional to three-dimensional in nature, and therefore those that seem apparently three philosophies are actually the same: the nature of the plan goes to space through an infinite number of intermediate stages. And, to be more precise, does not stop at three dimensions, but in fact goes even further in size, which can be infinitely small (or tablets) in the shape of the object. But quest'inseguimento for the infinite nanoscale would lead us to a natural object may be too far away (for now).
What I have to note, however, is that the sum of different symmetries, such as circular and polygonal, it's just a different way of looking at the overlap between linear and helical structures, as we said before. The net result, however it is interpreted, is that nature is not explained by the three geometric dimensions.

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Arnold Schoenberg, Theory of Harmony (University of California Press, Berkeley)

Pubblicazione completa dell "Harmonielehre", 1911. (III ed. ampliata Vienna 1922. Trad. "Manuale di Armonia"). English.

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Hi all, SIBYL snc announces the sale of premises to be used as a hotel.

The restaurant is located in via the / the Mediterranean Sea, in Marsala and consists of an existing part in the restructuring, and a part to be built, with all permits already approved.

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A short film about 3 minutes to present my work, especially on
properties of composite materials and natural fibers and biomimetics: run a bit 'image
variously related and there is in particular also Mr. Triplaerre, the little man and the environment, sustainable natural fibers, which is an attempt to disclosure to children. There is no comment, but do not rule out an add in the future.

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Computer Aided Composition - Computational Musicology and Computer Music

"L'algoritmo costituisce la differenza fondamentale tra l'impostazione informatica e quella tradizionale (filosofica e scientifica) della conoscenza. Più simile all'attività pratica, passo passo, degli artigiani che a quella teorica e speculativa dei pensatori, l'informatica consente di articolare con precisione potenzialmente arbitraria i passaggi che portano dal concetto primo o dall'intuizione al Analytical its deployment and implementation ... more surprising is the influence exercised over costutti theoretical computer science ... "(Giuseppe Longo)

COMPARISON, meta-programming, IPERSISTEMICA, the whole territory SUBJECT-. METAELETTRONICA CONSTRUCTION. In contemporary developments in avant-garde music and electronic music assisted musical composition is a broad inter-disciplinary territory, a mixture of methods and systems can be synthesized in a variety of potential a comparative study between the sciences and humanities need (it is useful to highlight the great potential of any comparative study in the understanding of systems and development of new methods of expression and analysis - consider, for example, the comparative literature and interdisciplinary studies that is expressed in the meeting between the humanities and analysis of reality socio-political world including the most varied fields of anthropology and understanding of the "other" communities and culturally more distant). The formal genesis of this new method of composition is clear the corresponding ' "zero moment" and the emergence of new expressive aided research experiences, in a span of sectors represented by all compositional strategies with the techno-scientific paradigm of computing. Chasing the minute detail of the texture and the exploration of method, you go to the meta-programming, the composition ipersistemica , the meta-electronic , to theoretical developments unpredictable, represented by example of cognitive musicology theoretical and applied developments to formal support systems that meet the algorithmic analysis, simulation procedures, copies of notational systems and interactive models. Through the various steps and studies of figures such as Xenakis, research and definition of musical patterns the computer will present the formalization of new compositional procedures. As seen in the post " Structuralism and Markov stochastic music. Introduction to the work of Iannis Xenakis (part 1) " and especially " Abstraction and formalization (" Musiques formelles "). The theories of Piaget and J. G. Deleuze in constructivism Xenakis, such formalization has to do with all those experiences of composition (not just those who use the computer) using the number as an ordering principle elements that revolve around the material composition, the ' twelve-tone method related to each other ' Schoenberg to the radicalization of this method in the serial of Anton Webern, Messiaen by to Boulez, Xenakis to having the ultimate aim of formalizing a sterile non-algorithmic music in which the logic and chairs overlooking the mechanisms of the composition, but the search for a expressive possibilities of active interaction between the composer and the system through reproducible patterns in compositional practice as its executive, an artificial system that "assists" the composer and guaranteed freedom of expression, in a stable balance between randomness and iperdeterminazione, concrete and metaprogramming between the paths traced by those of John Cage and Iannis Xenakis.

Computer Aided COMPOSITION - INFORMATION TECHNOLOGY DEVELOPMENTS COMPUTATIONAL MUSICOLOGY AND MUSIC. COMPUTER MUSIC - BACKGROUND. the electro-acoustic experimentation is part of that branch of sound generation called 'Computer Music' . For the outcome of this, Central has been the work of Max Mathews, a pioneer of computer music, in 1963 the public-known U.S. magazine 'Science'-Article "The digital computer as a musical instrument" , this marks a precise definition of time working arrangements. In this article, followed in 1969, "The Technology of Computer Music" . In 1957 Max Mathews, at the laboratories of the telephone company Bell, developed 'MUSIC' , the first program for generating sound to your computer through direct synthesis. MUSIC represented a real innovation, a leap forward of immense value to the digital synthesis of waveforms, and had a series of elaborations and developments over time until MUSIC V -1968 -, and a number of descendants to CSound, CMusic, Saol, MAX / MSP, PureData, SuperCollider, JSyn, Chuck , and all other programming languages \u200b\u200bbased on modular system (eg Native Instruments Reaktor of ). MUSIC V, in fact, represents the basic model for the creation of all other programming languages, anche i più recenti ed innovativi. Al centro di questa incredibile evoluzione frutto dell'ingegno umano c'è il computer IBM 704. "Con il programma "Music III", Max Mathews e Joan Miller hanno introdotto il concetto di "unit generator" (unità di generazione sonora) nella sintesi del suono. Una "unit generator", o UG consiste in un modulo usato per costruire vari algoritmi di generazione sonora. Le UG vennero successivamente potenziate nei linguaggi "Music IV "e "Music V". Le UG di Music V consistevano in oscillatore, filtro, addizionatore, moltiplicatore, generatore di numeri casuali, e generatore di inviluppi. Il percorso del segnale prodotto da un modulo poteva essere interconnesso con altri moduli per creare algoritmi anche complex. With these UG you could easily implement additive synthesis, subtractive and non-linear (like the famous DX7 FM was born nearly 20 years later). "Music V" had many descendants in the next 30 years among which "Mus10" Stanford University and "Music360", "music11" and "Csound" produced by Barry Vercoe on behalf of the Massachusetts Institure of Technology (MIT) [csounds.com]. Max Mathews has stated that the testing of digital synthesis is a work of composition "through sound", and implies an overcoming of the concept note and the classic work of the composer of "assemble notes." The Computer Music, ultimately replacing the concept of note with the concept of "Process" and "sound event". The processes and sound events can be extremely simple and arrive to coincide with the note, but can also be extremely complex, consisting of streams of signals which are generated sound elements similar to the traditional concept of note.

For the study we report the thesis

"Genesis of form in computer-aided musical composition: theoretical models and perspectives in the programming OpenMusic poietic" (University of Bologna - Speaker: Prof. Gianni Zanarini . Selvafiorita Submitted by Fabio).

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In the video below you can see the attractive points of interest that are, together, to a few tens of meters from it.


For more details and info: sibillasnc@tiscali.it

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Progetto:
La nuova struttura, in ampliamento a quella esistente, sarà composta da piano terra, primo, secondo, terzo e quarto piano.
L’intero piano terra che si verrà a creare avrà una superficie coperta di mq. 441.91 e una superficie utile di mq. 359.71 che sarà costituita da ambienti a servizio dell’attività alberghiera, ed in particolare da: locale ristoro con angolo bar di mq. 92.12, sala prima colazione di mq. 40.41, cucina di mq. 17.76, deposito derrate di mq. 7.04, oltre vano scale e ascensore, spogliatoi e servizi igienici divisi per sesso ad aerazione forzata. Inoltre è prevista una zona fitness con piscina di mq. 136.90 e bagni turchi.
Il primo plan will also have a covered area of \u200b\u200bapprox. For a surface area of \u200b\u200b441.91 square meters. Composed of 345.50 square meters hall. 48.93, TV room of mq. 16.50, reading and writing mq.14.11 from n 9 bedrooms (No. 4 doubles, two triples, a single and 2 single rooms for disabled planned under the 13/89), as well as toilets, stored and linen stores.
The second floor has a usable area of \u200b\u200bapprox. 178.03 and will include 5 bedrooms, 4 doubles and a triple with forced ventilation to bathrooms and a storage room for the staff of approx. 16.92, in addition to the stairwell and elevator.
The third and fourth floors each have a floor area of \u200b\u200bapprox. 161.07 and will consist of 5 bedrooms, 4 double and a triple with bathrooms with forced ventilation and a local storage cabinets for the staff of approx. 10.07, in addition to the stairwell and elevator.
A completed structure is projected potential accommodation of 59 beds.
The building will consist of two blocks joined and will have a frame type structure with reinforced concrete ground beam foundation and floor plans of the type of tile and precast concrete; tompagnature are scheduled in blocks of pumice and internal divisions in pomicemento.

photos and floor plans to see the next post

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From a conceptual point of view, natural fibers, woven as it should be, must of necessity be made of a uniform diameter, in a word "smooth" if I passed the word deliberately vague. This is accomplished with a series of treatments, often not sustainable, for example, typically, from what you did with the cotton already from 800, the mercerization with caustic soda. This is also made with fibers rather than "hard" cotton, being extracted from the stem and not from seed, such as with the jute, as shown in the figure. Of course, the fibers "hard" issues that have a number of cotton for example, has, starting from fibrillation, namely the detachment of the fibrils, which makes it difficult in any case spinning "tight", ie to make tissue more dense that the mats. There is also a psychological aspect, as well as functional, in all this: what is smooth as finished product and optimal, is considered the most valuable of what is rough, as raw material, if not crude. The nature, given his approach to design, but has shown enough not to be interested in these our mental categories, associated only with the mode of operation of the sense of touch. One of the first things that actually teach our children, perhaps unconsciously, is the effect of texture, the feel of smooth or rough, which remains under the fingertips in a brief contact.
Where there is a hierarchy, but there is a continuous structure to the smallest level. The gecko's paw is neither smooth nor rough, but is adaptable in the sense that it can take the form that, at the nanometer level, is considered more appropriate to join reversibly to the surface, and then in a flexible way to modulate the contact force. At that point the contact without regard to friction, we can never compare, for example, those wheel-rail systems, where the sliding smoothly (so once again go "straight") is always sought in relation to clutch and then to the roughness, through the adoption of techniques such as grinding or polishing. One might even speculate, although clearly the measurement of the adhesion force to the surface the gecko is not easy, that the system operates with a variable friction depending on the condition of the surface. More or less what we are trying with great difficulty di ottenere in molti sistemi ingegneristici, come per esempio gli ammortizzatori, che hanno lo scopo di ridurre le vibrazioni dovute alle condizioni della superficie stradale. E' chiaro che se potessimo modulare la forza di contatto tra la ruota e l'asfalto, sull'esempio del geco (avremmo certo bisogno di un “pneumatico gerarchizzato”), non ci servirebbero ammortizzatori. Per ora, invece, l'unico modo che abbiamo per ridurre la forza con cui il pneumatico preme sulla strada, è rallentare.

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Cells and Materials memory


Nel 1988 un articolo di Jacques Benveniste su “Nature” ipotizzava che esistesse una “memoria dell'acqua”, in parole povere che una sostanza disciolta e then gradually diluted to leave only the micro-tracks, to be sure you have at least one molecule of solvent in the sample, continued to produce a certain effect. In practice, the water retained memory of the substance which had been dissolved.
Benveniste's claim, apart from the effect of confirming the scientific validity of homeopathic practice, which builds on successive dilutions, up to virtually zero, has been questioned, then more recently resumed, speaking of nanostructures, and is still under discussion.
What is certain is that real materials have a memory there, is it true that there are shape memory materials such as nickel-titanium alloys. In them the memory, ie the effect already being sought or used, it is evident due to a phase change that radically changes the microstructure of the metal. In reality, however, all materials have a memory, because when they are loaded, you will never exactly the same way as when they were solicited for the first time. This may depend on the damage, but it remains true even if there is no damage visible microscopically.
In nature, the principle is exactly the same, in reality, the functioning of cells, such as cork above, is based on a principle known as tensegrity, in practice they are always in tensione (meccanica, per effetto delle interazioni con le cellule vicine, ma anche elettrica, per effetto delle sostanze chimiche in soluzione circolanti nella cellula), ma restano integre. Questo significa che internamente esse hanno memoria delle azioni ricevute durante la loro vita attiva, tanto è vero che attivano un meccanismo di auto-riparazione (self-healing), che è in effetti ancora abbastanza utopistico pensare nel caso dei materiali creati dall'uomo. L'autoriparazione si basa innanzitutto sulla rimozione delle tensioni applicate dalla cellula, e quindi dall'isolamento delle cellule danneggiate, cosa che noi non siamo in grado di fare, per cui ogni nostra riparazione comporta la dismissione dell'oggetto da aggiustare, cosa che non occur in nature. The repair service, if it were possible for the materials and man-made structures, would result in enormous cost savings and also a considerable environmental benefit.

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In natural organisms, there are no metals in the form in which at least we know it, good conductors of heat and light, adaptable (with appropriate criteria and processes) to take any form we want. However, there are a lot of oxides and metal salts, starting with silica or silicon oxide, which forms for example frustuli of diatoms, and offers them the porous structure and perfection of photonics, which showed in a previous post, or calcium carbonate, which forms the bones of cuttlefish, for example, by providing them due to their columnar structure with cells more or less rectangular (but with helical symmetry internal) absolute imperviousness to water, and especially for the sea salt.

This is a general concept: all that is linear in nature, is actually born from the superimposition of axial symmetry, such as the external structure of the fibers of celery in the figure.

But the fact of working on metals, from the standpoint of the engineer, had an important consequence: the search for an ideal material, identified with the steel. Or rather: the belief that an ideal material, that is homogeneous and isotropic, quiindi that behaves the same way under all stresses (mechanical, thermal, electromagnetic) on every point, it 's the optimum it was possible achieve.

In truth, then we have seen that nature, but also the engineering had rather need to make the most of the anisotropy of the material because the stresses are only rarely uniform (not even the application of the weight is almost never uniform, for example, no one sits exactly occupying the entire session, no more and no less). E 'to get a fair degree of anisotropy, as required by the reality of things, that nature uses the cellular structures, gradually assembling.

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The ideal and natural materials and natural materials clinamen


Lucretius Carus wrote about two thousand years ago " id facit exiguum clinamen principiorum / region loci nec nec tempore certain degree," arguing that in practice a small variation, or variation, in nature, allows the very nature of "work." It 's like saying, essentially, that nature in designing moves to infinitesimal variations and tends to perfect: the famous phrase of the proverbial "Natura non facit saltus. And the uncertainty time and space does it mean, with our eye view of scholars of the materials that you can never be sure what the exact nature intended produce. In practice, nature works through endless variations of the same approximate shape. This teaches us that there are flaws, but rather infinite micro-changes of the same shape, that only our cultural restrictions are perceived as abnormal. We observe, for example, this micrograph that represents the sections of several fibers okra Bahn, a plant native to the Indian peninsula and the Middle East (Lady's finger in English): There are two fibers are exactly alike, and even there are two cells are exactly alike, But we can imagine che ci si muova per infinite approssimazioni. E' per questo che le strutture naturali si descrivono meglio con la teoria dei frattali che con la geometria euclidea, che invece si adatta perfettamente a quanto è stato progettato dall'uomo. Questo dipende dalla struttura gerarchica dei materiali naturali, dove la linea retta, base della teorizzazione di Euclide, è ottenuta soltanto approssimativamente per sovrapposizione e giustapposizione di strutture a spirale e quindi, in realtà, non esiste.

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The shape and function ...


In realtà, una delle cose più difficili non è trovare la risposta in natura, ma probabilmente è capire la domanda che genera quella risposta. Il primo approccio, Perhaps the most obvious, is to look at the form it has a natural object, such as sensor bell cricket, which is seen in the figure, is a motion sensor (the small cones in the background are chemical sensors: photo taken at the confocal microscope and Emma Johnson, a researcher at the University of Reading).
The shape depends on the function? Yes, sure, but certainly a complex and still unclear. To complicate things, it takes the fact that the same form can be many functions, including different. The pineapple fiber, shown in a previous post, has a shape quite similar, inclusive of a large central gap. However, the two species have nothing in common. This suggests that the form can be misleading. Slowly, you begin to connect the shapes of plants with stress, especially mechanical, the plant suffers (it is a part of the study of morphogenesis).
Even though little is known about why many features of animal species, just as the sensors of insects, are "designed" that way. Speaking of design, the "concept" that the nature of development is still very cryptic, but one thing is certain, often works best because of the merits of the geometry is adopted instinctively, or rather a result of evolution.

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The Fragmented Orchestra

AboutThe Project: "The Fragmented Orchestra is a huge distributed musical structure modelled on the firing of the human brain's neurons. The Fragmented Orchestra connects 24 public sites across the UK to form a tiny networked cortex, which will adapt, evolve and trigger site-specific sounds via FACT in Liverpool. Each of the sites has a soundbox installed, which will stream human-made and elemental sounds from the site via an artificial neuron to one of 24 speakers in FACT. The sound will only be transmitted when the neuron fires. A firing event will cause fragments of sound to be relayed to the gallery and will also be communicated to the cortex as a whole. The combined sound of the 24 speakers at the gallery will be continuously transmitted back to the sites and to each of the 24 sites. The sounds of The Fragmented Orchestra will vary according to location; wind over Black Fell , inner city traffic, chanting from sports stadia and the chatter of migrating birds arriving for the winter will be combined with incidental and performed sounds from members of the public. The public, invited to play the instrument at the 24 sites, will be able to hear the effect their playing has on the overall composition of the piece at each site and at FACT. As members of the public use the instrument they will become both player and audience of a vast and evolving musical composition extended across the UK. The Fragmented Orchestra — conceived by artist Jane Grant , physicist, musician and composer John Matthias and composer Nick Ryan — is the winner of the PRS Foundation New Music Award. This award is the most financially prestigious for new music in the UK and has been likened to the Turner Prize for music". (Dal sito "The Fragmented Orchestra")

• Listen the Fragmented Orchestra

Inputs:

• the Fragmented Orchestra
• Sites hosting the 24 soundboxes