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1.1.1.1.A Lecture Lecture Lecture Lecture is given;

1.1.1.1.1.1.1.1.Using a tin can phone;

1.2.1.2.1.2.1.2.Connected to a cell phone; 1.3.1.3.1.3.1.3.That transmits to another cell

phone attached to a microphone;

1.4.1.4.1.4.1.4.That passes the information

to the translator staff; 1.5.1.5.1.5.1.5.That speaks to the audience

using earphones; 2.2.2.2.The room is filled with a sound sound sound sound

compositioncompositioncompositioncomposition;

2.1.2.1.2.1.2.1.Made with 4 mobile phones that play when someone calls

them; 2.2.2.2.2.2.2.2.And mobile technology

noises (such as satellites.);

2.3.2.3.2.3.2.3.The numbers are projected on a screen;

3.Friends3.Friends3.Friends3.Friends are also called by the lecturer;

3.1.3.1.3.1.3.1.To comment on the

presentation; 3.2.3.2.3.2.3.2.And to add sounds to the

noisescape (sea sounds, traffic,

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#Call* The poetics of calling, evoking, summoning are altogether

linked to the story of religion as communication is the mythology of relinking (religious religare as reconnection). Simondon after

Barthes reminded us that nowadays myths are inside technical objects as instruction manuals are sacred books and symbolic

truths are being encoded by technocracy. Technic as myth is a

form of regulation of social conduct. How does a phone calls our listening?

#Ring* Cultures, as the psychical resistance

to technical apparatus, differentiate aesthetical objects (art forms such as a

wedding ring) from utile objects (technical

solutions such as a motor ring). Technical relationship in the

advanced cyber capitalism makes objects inputted with subjectivity so that we can't

tell their usability from their aesthetics, as in

a contemporary object such as a ringtone. We understand our own listening of a ringtone using the technical mythology of

electronics, which most of us do not even have the curiosity to understand. Alienation of the process only connects us with the product.

#Ringing* We hear a sound and encode it with our cultural operating

system, interleaving it with our personal affections, deinterleaving it with our experiences memories, and then spreading it again as a meme that

is thrown again in the affections network of noisescape. Some of it

vibrates us to action and some just leave us without control.

#Rings* Monophonic listening as the gregorian chant's musical monody

works with the addition of binary information set to sound, giving a two dimensional figure of a three dimensional process, the same way a

blade of ring growth of a tree log. A monophonic ringtone creates a

dimension opening as it makes communication ubiquity possible. Polyphonic listening wider this experience using midi language at

the same time it gives the conscience of the media itself as a language to be written. The clearest example of this sort of

programming language is the Ringing Tone Text

Transfer Language (RTTTL) format. Midi multiplies the musical calculation of listening possibilities

with the hexadecimal scale of machinery post-dialectics, bits. Polyphonic ringtones were made

a cultural product (culturem) with the arise of a

ringing culture of culture ringing (globaltribalization and meme virology).

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Truetone listening is even more complex then the previous ways of

hearing in the same way timbre scaling (klangfarbenmelody) is much more

complex than instrumental music parameters, even with the serialistic studies. Samplerology is the spectral continuation to the musical three dimensional

grids of heights and bits. The transition from midi to sampling is close to a passage from narrative description to photography.

The realistic driven fidelity search of the audiophile gadgets industry

created a peculiar aspect in mobile listening through ringtones due to the difficulty of achieving low tones with small speakers inside a cultural industry

based in a continuous musical hypnosis of bass repetitive patterns. Ringtones make mobile phones insects trying to sound with trains timbres.

#Tone* To understand the effects of timbre in human listening we

must appeal to a schizoacoustics and realize the myths involved in the musical technique. The most important idea of occidental listening

of music is based on the idea of tone. Tone is, in the accepted psychoacoustic by musicology, a return area for the psychical

resolution of sound/hearing dissonances. In grammar, tone is the

manner in which the author uses words to convey a mood; and in linguistics it is the pitch and pitch changes inside words of certain

languages. In a limit of the hearable, every tone is but a note since every noise has a main oscillation wave.

The continuous playing of different ringtones around us in

urban environment creates different tone melodies. These tone melodies affect each one differently, depending on their previous

relation with the acousphere (sound environment). In painting, tone is a property of a color, or a dimension of a

color space, that is defined in a way to reflect the subjective

brightness perception of a color for humans along a lightness–darkness axis. A color's lightness also corresponds to its amplitude.

Acousphere is a painting of the possible listenings of an environment. Now, what do you hear here?

We could say that all tone references take their metaphor

from the muscular tone that the sensible organs needs to capture a sensation, and the subsequent

psychological effects of that action (in phonology, the creation of

words begins in the phonation tone

production of the larynx ring.) Ring is known to be an olympic sport which consists of swing, strength and hold

elements around an apparatus, the same way a music is a swing, expansion and hold around the tonal center (or

apart from it in the case of serial hypertonalism and other

no-fi sound arts and noise crafts). A ringtone tensions the nerves and changes the synesthesias and memories

harmony as it makes listening a vocalization of the environment. A song is a tone and a modulation of tone.

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#Tone Modulation* On the sounding sourceOn the sounding sourceOn the sounding sourceOn the sounding source we may distinguish four forms of musical tone modulations -

between different tonal centers (as from a Do to a Sol), between different tonal types (major and minor tonalities), tonal to pluritonal modulation (as in electro

acoustic) and enharmonic modulations (as in noisecraft and soundart). On the mediumOn the mediumOn the mediumOn the medium we may perceive four acoustic modulations of

sound: metric modulation (such as pitch and rhythm speed shift),

reverberation (complexification of the sound wave due to space reflection), movement (as in Doppler effect) and delays (transformation

of the sound due to time changing and speed fragmentations). On the listeningOn the listeningOn the listeningOn the listening, psychoacoustics uses the parameters of

fluctuation intensity (or allure) to measure slow tone perception

modulations, and roughness to measure the perception of fast tone modulations (as inside timbres).

#Pulse-Code Modulation* We could say that musical patterns of sounding and listening are a form of pulse-code modulation (PCM) just like (in different

scales) with ringtones: this is, a digital representation of an analog

signal where the magnitude of the signal is sampled regularly at uniform intervals, then quantized to a series of symbols in a numeric

(usually binary as in tone/half-tone) code. Music is the encoding of noise through the programming of listening..

At its core, a ringtone is simply a computer program stored

on the cell phone's memory chip like a song you whisper from heart. This program's sole purpose is to tell the microprocessor what the

phone's speaker system should do when the phone's receiver picks up an incoming call, as if there was an ear inside each chip.

A ringtone modulates all the aspects of the hearbility in a stop-mobility of eardrum

frames, all the aspects of sound change each other and themselves: the listening perceptions, the sound objects musical subjectifies and mainly the medium between acoustic propagation

in air and radio waves transmission shows itself to the listen that understand its point of listen.

#Ring Modulation* Ring modulation is a signal-processing effect in

electronics, related to amplitude modulation or frequency mixing.

As all post-electrical facts, modulation can be analogous or digital. Think of when you're listening to someone talking to

about love on your cell phone and someone talks right beside you about noise, than by analogy you speak to both a poem in

your ear of love as noise based on the amplitude of both

informations in your cultural operating system in that given situation of your tonal melody in the contextual harmonic or one

of the pieces can't decide which bit is running its code and you, one of the persons, or the apparatus communication make a Freudian slip.

The product is zero when either wave is zero, which shows why when the process is

alienated from the user, one feels no differentiation of its use: and communication machines make us stop communicating and music becomes noise and art pure marketing alienation.

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#Mobile Cell Radio Telephony* A mobile phone sends and receives

information (voice messages, fax, computer data, etc) by radio communication. Radio frequency signals are

transmitted from the phone to the nearest base station and incoming signals (carrying the speech

from the person to whom the phone user is listening)

are sent from the base station to the phone at a slightly different frequency. Base stations link mobile

phones to the rest of the mobile and fixed phone network. Each base station provides radio coverage

to a geographical area known as a cell. Base stations are connected to one another by

central switching centres, which track calls and transfer them as the caller moves from one cell to the next.

This beehive way of thinking is closely attached to the meme cellular listening. The radio-

waves cooptation happened using the hypnosis of

musical memes under the surface ideology of collective hearing. Mcluhan was an important icon

on this capitalist usage of communist concepts for the info propagation industry (propaganda).

Viral marketing is connected to the feeling

of being part of a listensphere, not throughout participation but merely through consumption of this

ideology. It is still to be done a world tone mapping in the ways noise pollution abatement groups made

worldwide with the soundscape projects.

#Spectrum Modulation* Radio spectrum is a precious natural resource with many different demands upon it (radio and TV

broadcasting, emergency communication, navigation aids etc). Consequently the amount made available to each

mobile phone operator is limited and this means base

stations can only carry a limited number of calls at any one time. Listening is an even smaller spectrum, so we limit

it to give ourselves an hearing focus. To accommodate the steadily increasing volume of users, network operators have to use the limited number of

radio frequencies licensed to them to support the maximum

number of mobile phones. The same made the average listening focus attention to diminish which also made a

meme culture of music possible, from symphonies to jingles. This is achieved by re-using any given frequency many times in a network and

carefully controlling the base station so that signals arising in different parts of the network

do not interfere with each other. This will result that we listen to Rock the same way we listen to Samba (apart from our cultural history), as pure data. Radio made music close to everyone

inside their homes, but then people stopped playing for each other, now we music to play on the radio. Spectrum was the phantasmagoria of the 20th century as is nanology to us now.

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#Spectrum Tone* Until the advent of the in-gadget music store cell, the

commercial provision of ringtones was the most profitable music market sector in the 21st century, predominantly female and

under twenty. Most of which were under the recipe of industrial-commercial capture of appealing pop songs and recycling of

contemporary and classical music recordings, generally through

licensing by one of the major record cartels. The ringtone market features competition between mobile phone service providers, mobile phone hardware suppliers, record labels

and opinion crafting third parties such as MTV. Several record companies sell ringtones of their bands on their sites. A mobile phone as a commercial product, sells, above all, market

itself. Ringtone is a mall soundtrack made with popmuzak and a boxe ring where the most

hypnotized hypnotic wins the tone of the crowd listening for the time of the next jingle Mobile carriers too are able to offset their huge

infrastructure investments (lots made with governmental money) in revenues form, mobile ringtones and other related content

licensing. One of the main change in this market is that from

download oriented payment to a per week association based on credits. This is especially useful dealing with the teenager

users that have to access difficult navigation paid sound interfaces to be unsigned. It has turned into a significantly large revenue stream for telecom

operators and other media cartels. MTV, for example, sells divinatory software for you to

know if he or she kisses well. Brands are also reaching out to young consumers through mobile phones. Ad jingles are being converted into ringtones, as they generate brand recall

through band replay. Specialist mobile marketing firms are helping brands to acquire and retain consumers via musical hypnosis. Hearing made hostage of its hypermobility of focus.

When the mobile rings, it reaches the ears of everyone

around the device, not just the owner of the phone. This is used as an average base for the charge of public diffusion of the

song. Copyright are the same as in music, where open source softwares give anyone the possibility to create or copy their

own songs or another's' into ringtones. Ringtone is ready for the

sound ramble. Although often played for aesthetic values to alert a recipient of an incoming call, some individuals around

the recipient consider ringing noise to be a disturbance. Employers have been known to ban ringtones at work, with some companies even going so far as to fine their employees each

time their ringtone sounds during a meeting. In a survey of cell-phone owning professionals

made by U.S. Bell, 18 percent felt that the worst cell phone etiquette offense was to cycle through a phone's ringtone list, playing them one by one, while riding public transportation.

And yet, public transportations are allowed to have TV and radio stations' that use more than 75% of their broadcast time with merchandising meanwhile free radios are prosecuted

for stealing spectrum frequencies.

How would we dare to focus on knowledge sharing and relational listening instead of memetic gossip spreading? The market tone of the focus cells on the listening spectrum

decide, in favor of consumption productivism due to the bandwidth limit and limitless desire for goods and needs, giving way for a sort of microblogging newspeak {hypnosong-

monolog-jingle poetics} that diminishes the relational broadcasting, the same way it does with

long narratives, meditations, experimental and research music and sound craft, prose and poems, and mainly with critical, reflexive and philosophical thinking and acting.

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#Illusory Continuity of Tones in Modulation* The illusory continuity of tones is the auditory

illusion caused when a tone is interrupted for a short time during which a narrow band of noise is played, as when

you are talking on your mobile and crosses a tunnel. Whether the tone is of constant, rising or decreasing pitch,

the ear perceives the tone as continuous if the 50ms (or

less) discontinuity is masked by noise. Because the human ear is very sensitive to sudden changes, however, it is

necessary for the success of the illusion that the amplitude of the tone in the region of the discontinuity do not decrease or increase too abruptly.

Most probably, this happens because of the way that the human ear adapted to

filter out the background noise from signals (visual, acoustic, tactile, etc) in order to show one signal disturbed by noise as one event, not several. (A longer change in the signal could

mean a different event). That is why most of us won't actually listen to anyone in here, unless he or she speaks about the tonal focus we already had before coming.

#Listening Cell* Cell represents the smaller portion of living matter. It is the

structural and functional unity of living organisms. In the structural level cells may be compared to bricks of a house, and in the functional level

it can be compared to the electrodomestic equipment that makes the house habitable. Body is a house of mobile walls that communicates

using language games that rings the nerves. with a listening timbre.

In listening, timbre (sountint or soundtone) plays the part of functional structure unity, since it

focuses on the atomic (indivisible) duration of frequencies and can be described through a

spectral analysis. Any sound can be decomposed

into its constituent frequencies and amplitudes, named envelope. An ADSR spectrogram is a plot

of the frequency content of a sound as a function of time. Envelope is the letter's tone.

The Animal magnetism attacks, the vegetable electricity in nerves decay, the mineral

voice sustains a cellular listening of sound logics composing musical affections until they release listening to silence (its own noises) again. Cellular (fracto-memetic) listening, is a

component of hearbility between inner logics of sounds connections and poetic-political feelings of connection to music.

#Cell Listening* The word cell comes from the Latin cellula as in a small jail room, or even better: a

cage. Cell listening is cage's audibility; we listen in mobiles the bricks of our walls. Recall Wittgenstein and ask him. Small melody riffs making as in ringtones is part of the same

process that creates pop charts and radio repetition of listening fields, degradation of musical person-to-person connectivity and noise pollution due to excessive amount of

musicality in the environment. Music is the cage of sounds in listening. How many ringtones

are needed to fill a room and how much sound does it take to fill an ear? How much sound?

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#Formant and Transient* Formant is a concept that refers to a peak in the sound

envelope and/or to a resonance in sound sources as well as that of sound chambers. Listening cells of informations inside the

continuity of noise creates, from formants in ubiquous events, a musicalscape in noise. Today market logic charges listeners for the

illusion of a formant-only listening that they call music.

In parallel, transients are short-duration signal of non-harmonic attack phase in a musical sound or spoken word. It

contains a high degree of non-periodic components and a higher magnitude of high frequencies than the harmonic content of that

sound. The 'new' elements in a pop cult music, taken as attitude

currency. An excess of transients equalizes the system, making it a noisescape, a margin of the system needed to its negentropy.

Electroacoustic research always took this for advantage, as a way of machine vocalization of sonems. The same way birds only sing, once culture only had music and

computers midi. Mobile phones are cells on the world sprachtgesang. Voice itself is an

invocation-expulsion instrument, working through a becoming-desire rhythm, a timbre in ring modulation of its formants-transients. Talking on a phone, you always have a vocoder.

#Cell Ring* The cell ring, or cell-division cycle, is the series of events that takes place in a cell leading to its division and

duplication (replication of meme in a culture cell). The cell-

division cycle is a vital process by which a single-celled fertilized egg develops into a mature organism (you share

your culture cell with your works of art), as well as the process by which hair, skin, blood cells, and some internal

organs are renewed. Cellular listening is the organ without

body of the acousphere multiplying through our listenings. A deregulation of the cell cycle components may lead to tumor formation (meme

noise). Thus there is a net increase in cell number as the number of cells that die by apoptosis or senescence remains the same. That is to say, there is a net increase in pseudo-formants

(music) as the numbers of real music is dead due to its need of transients to surpass the

spectrum tone imposed to musicality, listensphere and hearbility. In order to keep its mobility (kynesis), music had to overcome the pleasure-pain axis in aesthetic.

#Ring Cells* A highly malignant type of cancer typically found in glandular

cells that line the digestive organs. A signet ring cell multiplies itself indistinctively as a tumor, in which these cells are filled with overgrown

proteins vacuoles that push the nucleus to one side, making the whole cell die. Noise is the cancer of music in its overgrowth.

#Tone Ring* There is a modulation ring between ring modulation

and the whole listeningsphere (contextual harmony) that generates an electro-magnetic tone modulation, a tonering.

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In intimate communication, let's say as in a sexual relation or

a phone call, there is a ring modulation between the two or more

persons' bodies' tones. In the listeningsphere of ringtones we find the same marketing logics that affected most of the musical areas,

where intimacy is sold as representation of call itself. In between your voice and the call, there is the ringtone. How would be a phone

that would automatically accept calls as like our ears that or accept

sounds or create numerous fictions not to focus on it? Besides, therefore, the realm of electromagnetic nature and

the realm of radio cult is emerging a third kingdom which embraces what is no longer natural or cultural, a kingdom of garbage, with its

own logic and its stark urgency to be properly evaluated and

redeveloped. Both, by the digital apparatus (and this includes legislation and philosophy) and poetic analogies by users. How much

listen? Listening is a complex subjective composition of a point of noise-musicality. When will we take interaction seriously enough to

pay listeners? Or will criptopathy encodes all poetic senses of life in

products, their merchandising, and niches resistances? We generally conceive

mobility as a possible movement in space. This says little. A journey

inscribes itself simultaneously within

space, within time and within the social hierarchy. Every impression is

only definable when relating it jointly to these three axes, and because

space has three dimensions, five

would be needed for getting a suitable representation of mobility. At the same time it may move thousands kilometers away, mobility causes to climb or go down the social ladder. It

moves and downgrades — for better or for worse — and the color and the taste of acouspheres cannot be dissociated from the rank always unforeseen where it locates you to

hear them. How to keep our minds in mobility and our listenings in fest?

Babel is the myth of technical-practical languages devoid of poetical action. I wonder how numerology takes part in the paranoid machine presented in the telephones

dialers and how to daily change our ways of listening. I'm but a dilettante trying to tell myself to ring my tones. Send a poem to a friend, now! Call an unknown! Talk to persons around.