On bruno imbrizi: experiments . The prompt is to reflect on any audio-visual project out there. The 'waves' in the title can stand for many things: physically speaking, sounds are waves (and the Fourier Transformation tells us that, furthermore, any sound can be decomposed into stacks of pure waves). Metaphorically speaking, aren't we always finding ourselves in one wave and another that pushes, upholds, drowns, carries, throws, or smashes us? Not to mention there is a famous sound processing software company, Waves Inc., and, of course, the case in point here, a rather straightforward demo driven by waves—visual and acoustic ones. As you know already (or not), I like meta storytelling a lot. And this little demo indeed intrigued me with its meta juxtaposition of the physical/visual form of a wave and the temporal and acoustic interactions. What happens there is quite obvious: whenever & wherever the visual wave crosses the x-axis, where a series of nodes are spread evenly, the corresponding sample is triggered. (By "crosses" I mean from positive to negative or from negative to positive.) Of course, the user can switch between samples loaded in a specific node by clicking on it. The story gets interesting when the only other mechanically meaningful parameter—frequency—is tweaked. Here, the frequency doesn't control the audible pitch of a sound but rather the visual/mechanical wave. When we gradually increase the frequency from its lower boundary to its upper boundary, what will be experienced is the very interplay between frequency, periodicity, and wavelength. With the lowest frequency, the wavelength is equal to exactly the length of our sample-axis, triggering one sample at a time. As the frequency increases, the wavelength shortens correspondingly, following an inverse relationship and resulting in triggering multiple sample nodes at a time. Eventually, when the frequency is high enough and, most importantly, meets the integer multiples or, in other words, the harmonies, of the fundamental frequency (the slowest frequency in our case), the wave seems to stop traveling, stand still, and let the peaks get into regular groups that move in sync, resulting in also the sound samples being played in perfect sync (and that's why those perfectly locked-in waves are called standing waves with this type of fixed-length "string"). Where: = Wave Speed (which is constant in the demo), = Frequency, and = Wavelength. In hindsight, I would say this little demo is particularly good in terms of how the visual/mechanical wave is rendered also with nodes and edges, and how they smoothly transform into standing waves. Only It would be even better if the frequency range allowed were a bit wider, so that the transformationally shared nature of rhythm and pitch (aka. how rhythm speeds up and becomes a pitch) could also be demonstrated.