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THE INTERACTIVE FLUTE

Flute à bec. Register of Intellectual Property nº 1996/03/33 691of 3rd October 1996

Design: Aguila
THE OCTAVES
THE INSTRUMENT
MEASURING CHARACTERISTICS
LOGOS
THE CREATION OF THE SOUND
THE PLACES – THE AGORA AND LAS COLINAS
THE PLACES – LAS COLINAS
The inventor would like to licence the flute to interested companies or flute builders. Professional flute players who are interested in testing this flute, are invited to contact us.

This energetic concept, born fromout the internal dynamics, creates MEASURE in this labial instrument.
Characteristic in this sound-energy is the manipulation of the accoustic pression and the fact that it improves and avoids the intervals towards a lineal dynamics, by which we obtain more subtil and sensible reactions and a richer sound volume.
The precise form and material of which the labium is made, is co-determining for the extraordinary quality of the instrument.

A different approach of sound automatically brings about the necessity of a different construction of the instrument. There is an aerodynamic date in the design and the concept is based on the dynamic stability. The instrument is designed, constructed and tested so, that the intervals of certain tunes are annulled, creating the dynamic momentum of the tunes during the acceleration - the dynamic momentum always demonstrates itself according to the moderation of laws, and folding the tunes, just like human voice.


The octaves *
The first octave.
This octave, produced by the instrument, is being created by pre-atomic particles, that demonstrate themselves as an evolutive light-wave, that vibrates at
a speed of 16.000 up to 32.000 vibrations per second (v/s).
In an ordinary instrument the octave does not demonstrate itself as a straight line but, on the contrary, with intervals of intensity of the tunes MI and SI,
it's to say:
from DO to RE: +3
from RE to MI: +3
from MI to FA: +2
from FA to SOL: +4
from SOL to LA: +4
from LA to SI: +5 = interval
from SI to DO: +3

The second octave
In the second octave we talk of particles which, as a creative descending semi-lightwave, manifest themselves just like a creative, descendent,
semi-light wave, as a cosmoteluric axis. They move with a speed of 500.000 millions of vibrations per second (v/s) and which have their major interval
in the octave on the tunes DO and SI.
A second interval manifests itself in the tune FA and changes into electricity with a speed of 100.000 millions v/s and a length of 1/20.000 cm.

The third octave.
When the intensity of the ascending particles of the first octave on the tunes MI and SI - there where normally the intervals are produced - is accelerated,
so that this ascending evolutive line, or its particles, begin to move until they vibrate with a speed of 547.450.563 v/s, and when they touch the creative
descending line (the cosmo-teluric axis), on the tune FA, then:
1.- the particles of the evolutive or ascending octave are prolongated- transforming until SI, dispersing and manifesting in the inicial tune DO of the
descending octave, focussed towards Mercurius.
2.- Thus, the particles of the descending octave in FA manifest themselves with the ascending octave like a perceptible energy, it's to say, like SOUND.
Thus appears a new octave, from out the two first octaves, and begins a proper identity order, which vibrates in rhytmic movements.

The instrument *
By replacing the wooden lip by a lip of an adequate material, and by the friction generated on this material by the air that is being blown through the canal, we get a greater acceleration and intensity on the particles from the meta-point to the seizing point of gravity (outside mass) in its energetic identity (topaz)where they then move in the form of creative power in a first static and then dynamic moment of motionlessness, around the gravity centre,
and so that the tunes vibrate on the major axis with great intensity.

Thus the existing intervals in this octave are being annulled, the intensity of the particles increases and the sound produced by this instrument gets an equilibrium without precedents, a volume of intense sound without any intervals and thefullness and harmony of the sound spectrum.

The result is an instrument which is played with the greates ease.

Measuring characteristics *
The center of the mass is situated at 16,5 cm from the mouthpiece in the lower mass of the instrument.
The centre of gravity is situated outside of the mass at a distance of 12,5 cm from the mouthpiece and at 1,5 cm under the instrument.
The META point is situated at 5,5 cm distance from the mouthpiecea and at 0,5 cm above the lip.
The natural center or identity is situated at 16 cm distance from the mouthpiece in the lower mass of the instrument. (In a flute that has got other dimensions
there will be diferences. This will lead to further studies)

Interactive Music in the Creation of the Free Will.

Logos *
Due to Logos, who unites the cosmos with the earth in the vibration of the sound FA, creating thus the equilibrium which is the seizing point of "The Creation of The Free Will", sound unites with the Idea and it creates and thus the Encounters express themselves that way in an understandable future.
This is the ownness of the whole work of art.

The Universidad as Ilici monument in the three dimensionality and as Ilii-monument in the four-dimensionality, reaches the ownness of the Universidad in the location of LOGOS, by means of sound, the Idea travelling on this length wave.

This fenomenon manifests and realises itself in the creation called "Universidad Libre Las Colinas", in a continuous rhythm and motion of continuous altering in a proper identity order that vibrates in rhytmic movements of a flowing energy current with great frequence and diversity.  In this movement, the sound of the ascending octave unites in the FA of the descending creative octave in an energy figure, in direct figures and alsmost inperceivable figures of sound of this identity. This new octave has "I-U", of the cosmo-telluric sound "E" as major sound. It is focussed on Mercurius and the particles, in the form of figures and sound, move as particles of silver with the identity of topaz. 

The cosmo-telluric axis finds in this place its organic, creative power in millet and wheat. 
In relation to man, it can be said that the nervous system is stimulated.

Due to the unique and specific knowledge of the author, this monumental work called "Universidad Libre Las Clinas" characterizes itself as a total and transparant concept of harmony.

The creation of sound *
Sound created in "Universidad Libre Las Colinas"
1 - Ilici
2 - Ilii
In the monumental work "Universidad Libre Las Colinas" sound is created in the first monument Ilici by means of the flute that has been designed by the author. The particularity of this flute is that the sound it produces is not subject to the normal intervals.

The place where the flute is played has also been designed by the author: the monumental work "Universidad Libre Las Colinas", situated in Sucina, Murcia.
The flute player is sitting in the centre of the Agora, that is part of the monumental work.

The immediate aim of the first monument Ilici is: the dialogue, the investigation and the formulation through the opposites and the similars, reckognizing in the word, poetry and sound.

Ilii-Ilici. The identity: The sound in the second and third dimension (Ilici) goes towards the fourth dimension in Las Colinas (Ilii) and towards a multi-dimensionality in the identity that moves.

The places
Las Colinas. Drawing by Tsutomu Shigemura.
The places: the Agora *
The Agora, a round platform built in natural stone and covered with marble, has a diameter of 6 meter and is 60 cm high. This platform is surrounded by the Campus, a natural terrain closed by a rising wall. On top of this wall, there is a serpent (coloured in dark red ) that moves over the totality of the length of the wall.

On this platform arises the sound, searching, opposite in the dialogue, in the third dimension. The sound is created by means of "the interactive flute" designed by the author.
We start from three octaves:
The flute plays in two octaves. We call these two octaves the first octave.
This is creating in the first octave of the third dimensionality. The second octave is that of the descending axis or cosmic axis. It concerns the field of the cosmic particles of the ionosphere. The third octave is when the cosmic descending axis is played in the note FA of the second octave and when one is capable of directing it and playing it. This is produced by playing the notes FA, SOl, LA, SI in the lower octave, in the lowest register, in various tones, intensities and dynamics.

In the third octave we obtain the third dimension, the creation in the form of forms and spaces. The identity of the place is being guided and awakened from its latent state by the artist so that it is possible to catch the cosmic octave easier. In this cosmic octave there exist also light waves. The cosmic energy is being attracted towards this place, where the cosmic octave is received in the exact point, i,e, in FA.

The creation of sound occur on a well detemined spot, which is not the starting point and it makes subtile, vibrating forms. The birds, for instance, react on it in a well determined way. They collide with the air as with an unvisible screen and change their flight. Sometimes they fly towards the flute player, they go and sit on his shoulder or jump at his feet.

The places: Las Colinas - ILII *
The reception of the cosmic octave is even stronger in Las Colinas, situated in Sucina. Here the flute player can play the tunes FA-SOL-LA in the higher register (first octave of the fourth dimension). This is creating, changing in tonalities, intensities and dynamics, by which the tune FA of the descending octave, which is explicitly present here, is reached. Thus one creates the third dimension: the creation in the form of TIME.

When the FA of the cosmic octave is reached, this can be clearly perceived by the flute player, but it can only be heard on a specific spot, which is not the spot on which the flute player is sitting. The sound searches its way and keeps repeating itself. This is only possible when playing the interactive flute and only in the two named places.

Ciudad del Hombre a.s.l.f., acting for the Museum of Lasoberana

© 2008