Transcript
Speaker: Hi, I'm Ty, and you're listening to Stories Worth Telling Forever.
Speaker: I'd like to start this episode with a question.
Speaker: Would you rather walk down a busy street with your eyes shut or with your hearing completely blocked?
Speaker: Now I'm assuming most of us would say we would rather have our sight as we walk down a busy street, but we might be wrong or at least underestimating how important it is to hear as we walk down a busy street.
Speaker: I had a chance to speak with David Owen, a writer for the New Yorker and author of the book, Volume Control.
Speaker: And he shared a thought provoking anecdote that really illustrated how many of us take hearing for granted.
Speaker: When I was a kid, my friends would always ask, you know, would you rather, you know, deaf or blind, which would you rather do?
Speaker: And I would always say, oh, I'd rather be deaf than blind.
Speaker: Um,
Speaker: But when I started thinking about it, writing the book, Helen Keller herself said that being deaf was a bigger handicap than being blind.
Speaker: If I were blind, if you were blind, we could still be having this conversation with no, you wouldn't even know.
Speaker: If either of us were deaf, we would have to make all kinds of accommodations.
Speaker: And if you are deaf, even if you are in a group of people, even if you know sign language and are in a group of people who know sign language, you can't monitor everybody in the same way that you can, you know, in a crowd that you can, if you can hear.
Speaker: And the technology has made it possible to keep up in ways that were not possible before, but it's still, it's huge.
Speaker: I know a guy who people, he's just a sour, mean old guy because if there's ever a cocktail party or something like that, if he even comes, he looks grumpy and you wouldn't talk to him.
Speaker: And I finally realized when I was working on it, he can't hear.
Speaker: It's because he can't hear.
Speaker: It's not because he's evil, although I think he probably is a little bit, but that's the reason that he's not taking part in this.
Speaker: There are a lot of enjoyable insights to be had in David Owen's book, Volume Control.
Speaker: Now in his book, he also referenced a conversation with Bill Rabinowitz, who is the head of acoustic research at Bose.
Speaker: He said, most people have no idea what it's like not to hear because it's difficult to recreate the experience.
Speaker: Why is that?
Speaker: The reason is that even when we're wearing noise-canceling headphones or earplugs, things might seem quieter, but our auditory system is still functioning with some sound reaching our inner ear or even reverberating through our skull.
Speaker: Now Bill continued, he said, to make people temporarily truly unable to hear, you have to put in what is called an attenuating earbud, and then place big hearing protectors over those, and then place some noise through the earbuds.
Speaker: And so during his management training class at the MIT Business School, Bill sent people to walk around, but he also made sure that each one of them had a hearing buddy because it was too dangerous to walk down the street when you truly can't hear anything.
Speaker: Now, I wanted to share this example because it reveals how those of us who can see and hear prioritize the visual
Speaker: assuming that it's more important than our auditory system.
Speaker: And it's easy to understand why this is the case.
Speaker: We exist in a world that's full of visual data.
Speaker: It permeates our jobs, education, and the way we communicate.
Speaker: But could we be underestimating our ability to hear and process data with sound?
Speaker: Our main processing device, if you will, is our brain.
Speaker: which could be compared to a kind of organic supercomputer locked in this dark, silent box, otherwise known as our skull.
Speaker: And it's really not seeing or hearing anything.
Speaker: It's receiving electrochemical signals.
Speaker: So whether that signal's origin was in the form of a sound or a visual cue, as far as our brain is concerned,
Speaker: That's really not the most important thing because its focus is on processing signals.
Speaker: It recognizes patterns and it assigns them meaning.
Speaker: It takes in this information from the outside world and turns it into a story that we interpret as the world around us.
Speaker: So it's a very efficient machine.
Speaker: It takes in information and figures out what to do with it.
Speaker: So we've exposed our brain to many different kinds and styles of visual information.
Speaker: But could feeding our brains with new kinds of data unlock new understandings or more productivity?
Speaker: If we could somehow become more efficient at processing information, it definitely wouldn't be a bad thing, right?
Speaker: According to the Data Age 2025, a report by IDC, a market research firm, as of 2020, the amount of data generated worldwide each day is estimated to be around 44 zettabytes.
Speaker: which is equivalent to 44 trillion gigabytes.
Speaker: Now that's data that's generated online by social media, emails, video, voice calls, online shopping, web browsing, etc.
Speaker: Now I don't know about you, but I have very little concept of what one, let alone 44 zettabytes, looks like.
Speaker: But if we do some calculations and we compare a zettabyte to something we are familiar with, like a gigabyte, and we say that for purpose of illustration that one gigabyte is equal to one regular sized water bottle, a 16 ounce water bottle.
Speaker: then a zettabyte would be equal to a stack of water bottles that is so tall it would reach about 300 million miles into space, which is coincidentally the distance from Earth to Mars.
Speaker: So when we're talking about using sound to represent data and information, the term that we use is sonification.
Speaker: Now, it may be an unfamiliar term to some people, but it is quite simple.
Speaker: It refers to the process of turning data into sound.
Speaker: Now, sonification.
Speaker: It's actually happening all around us, although we don't think about it as being sonification.
Speaker: For example, the ticking hands of a clock on the wall, indicating time passing.
Speaker: We can hear it even without looking at the clock.
Speaker: Or the whistle of a kettle increasing in pitch as the water inside reaches boiling point.
Speaker: There's even natural forms of sonification.
Speaker: Where I am, we get a lot of snow.
Speaker: So in the winter, I know the squeak of the snow at minus 10 compared to minus 20.
Speaker: It sounds different and it transmits that data.
Speaker: A famous example that we probably all are familiar with is the Geiger counter used to detect radiation.
Speaker: It's also being used in some more adventurous ways.
Speaker: One of the oldest and more artistic examples of sonification that I came across was that of a sonification created in 1939 by the composer Hedor Vila Lobos.
Speaker: Now this was a piano piece that was written as a part of his sixth symphony.
Speaker: and it was entitled New York Skyline Melody.
Speaker: Now to create this melody, he utilized the shapes of the buildings, skyscrapers, and bridges that made up the New York City skyline.
Speaker: So using a photograph and transparent paper, he created a matrix that he used to form this musical notation, resulting in a melody that rises and falls with the New York City skyline.
Speaker: So see if you can track the rise and fall of the cityscape as we listen to this version of the New York Skyline Melody composed by Hedor Villa-Lobos and performed by pianist Sonja Rubinski.
Speaker: you
Speaker: you
Speaker: Sonification is also being used in some more adventurous ways.
Speaker: John Bologna is a PhD faculty member of the University of Oregon with extensive experience in sonification and music technology.
Speaker: His work focuses on using sound to communicate complex data and concepts, and he brings that expertise with him into his courses in electronic music composition and sound design.
Speaker: How did you end up involved in this sonification world?
Speaker: I kind of wandered my way into data sonification.
Speaker: I got my start in doing, you know, playing in bands and recording and going to school for recording, working in a recording studio, and then going back to grad school for music technology.
Speaker: And that kind of was kind of felt like a natural consequence of
Speaker: working with digital musical instruments that kind of led me into data sonification and realizing like, oh man, this is an actual field, a way to work with information that there's so many possibilities and it still feels really fresh.
Speaker: Yeah, absolutely.
Speaker: I feel like looking into this, we're sort of just at the tip of the iceberg here when it comes to what's possible with sonification.
Speaker: We have so many ways of processing data visually.
Speaker: Yes.
Speaker: Why would you say we should make more of an effort to explore sonification?
Speaker: Well, sonification opens up, literally kind of opens up avenues for more individuals.
Speaker: It's when we just use our eyes, we're leaving out other ways of experiencing.
Speaker: We're leaving out other ways of listening.
Speaker: We're also leaving out other humans.
Speaker: You know, there's a large community of blind and visually impaired people
Speaker: And as soon as we only do visualization and say using that in the sciences, then we're leaving out a BVI community from accessing science and bringing that voice to the table.
Speaker: I feel like we need to explore other modalities.
Speaker: And so sound is a really great one because our ears are always on and we're always listening.
Speaker: I know one interesting thing that I've learned, people who are in that situation, you know, the brain basically reroutes some of its processing power to these other senses.
Speaker: And I thought, man, you know, sonification, maybe processing data this way, people without sight, perhaps they could pull data out of things that those of us with sight might not even be able to do.
Speaker: And I think that's very true.
Speaker: And, you know, when you turn off the lights even and you try to remove a sense and you're listening to music, I find this for me that I'll often close my eyes when I'm doing some critical listening.
Speaker: as a way to help my brain shut off and tune in to what's happening in the sound in a way that I can draw or elicit more information from it.
Speaker: And certainly how we're mapping our data into sound can help psychoacoustically or help our brains kind of figure out and utilize the strength of what our ears and our brains are kind of wired to do.
Speaker: Like, for example, we're really tuned into timing differences in using our ears.
Speaker: Almost like we can tell when someone has a flubbed note.
Speaker: Even if they're playing the right pitch, we can tell if they're out of sync, out of time.
Speaker: The bands, they didn't play that downbeat right on, the downbeat.
Speaker: There are studies out there that you don't have to be a trained musician to be able to hear those timing differences.
Speaker: Our ears are really good at that.
Speaker: Our sight, we're not going to be able to tell when the person, if we're just looking at, say, the drummer and they're hitting that snare drum, if they're slightly off or not with our eyes.
Speaker: Right.
Speaker: A lot of students who come into sonification either A, have not heard about sonification, this is a college classroom,
Speaker: or have not explored ways of mapping information into sound.
Speaker: They might play instruments and they're doing it all the time, know what pitch is, know what loudness, amplitude, and that concept, that characteristic of sound is, but they have less knowledge or little knowledge or no knowledge about sonification and mapping, going from just values into sonic parameters.
Speaker: So I often will just not start with a computer, not start with kind of the abstract values.
Speaker: We'll just look at charts, and then we'll use our mouths.
Speaker: So I like to call it like data karaoke.
Speaker: That's cool.
Speaker: Because our voice is such a versatile synthesizer and an instrument.
Speaker: And that the karaoke part is also about being uncomfortable with using your voice in its capacity to just...
Speaker: It's okay to make a fool of yourself in sounding it out because there's no right or wrong and that we're just trying to understand and use it as a way to explore something that's very new.
Speaker: Very cool.
Speaker: So it's sort of when that contrast is made between focusing on visualizing data and then data karaoke.
Speaker: Yeah.
Speaker: it makes an impact it totally does and one example would just be temperature across the year it's usually going to be this bell curve where it's colder and lower in the winter months and then it's higher in the summer months so you just have this kind of unipolar wave which is low it gets to high and it goes back to low across the 12 months of the year
Speaker: they're already kind of making choices about, oh man, like what if we did pitch and we're going, or how would you make that if it was, is that louder?
Speaker: Where would it be louder?
Speaker: Would it be quieter?
Speaker: And they're starting to investigate and okay, what timbre or like what, you know, if it's an instrument, what would it be playing?
Speaker: What would temperature be versus precipitation, rain?
Speaker: And oftentimes it's an investigation tool
Speaker: on how can we have this inscription, this map in sound, whereas if we're just hearing the sound, we understand something where it's coming from.
Speaker: Oh, it's this, we're hearing this thing rise up and go down and it's following this curve.
Speaker: We had markers in there to say that there was temperature across one year and let's listen to the temperature across one year and we hear that curve going up and down.
Speaker: We might get a sense, oh, it's warmer in the summer, it's colder in the winter.
Speaker: versus, oh, actually that's Australia and it's going down in the summer and it's coming up.
Speaker: It's like on the top.
Speaker: Wow.
Speaker: Hearing you say that, I realized something totally I didn't think about before.
Speaker: And that's how much of the process of sonifying data or turning it into sound.
Speaker: actually makes you think about the data in a totally different way.
Speaker: Would you say that's true?
Speaker: Yeah, a lot of this is about process and having students ask questions and explore and kind of almost do this design thinking with sound and the data that they have.
Speaker: And it's really about the questioning of what is this data that we have?
Speaker: Yeah, that's super, super fascinating.
Speaker: And I actually sort of in preparation for this conversation with you, I thought I would try and do a sonification.
Speaker: And this podcast, you know, the way that it's stored is we're using something called RWEB, which is this permanent storage technology.
Speaker: My idea was like, you know, this concept of something being digital, but being permanent, lasting forever.
Speaker: It's not an easy concept to convey.
Speaker: Right.
Speaker: I'm like, well, is there a way that maybe I could use sound to sort of contrast with other other mediums or other ways of storing data?
Speaker: So I'm still working on it, but just the process of using some of these tools, I'm like, you must have met quite a few challenges with your different sonification projects.
Speaker: Absolutely.
Speaker: And I think that's also sometimes the fun is that there's no, it's so young that there's no kind of like right or wrong.
Speaker: There's a lot of just iteration.
Speaker: The way in which you might map it can open up, okay, I'm going to try this.
Speaker: What would that sound like?
Speaker: And then we're thinking, okay, what would that sound like?
Speaker: And having to be something that you need loud, soft, or loud.
Speaker: bright, dark, and so we're starting to also understand how we're using our ears to perceive our world.
Speaker: I ultimately loved sonification in that way because it's
Speaker: almost a reminder for us to kind of listen and kind of use listening as a way for us to connect kind of back to ourselves and how we interpret the world, but also to find connections with others and how they might be thinking about information, common ground.
Speaker: A lot of the topics that we're bringing with sonification are dealing with the environment and environmental phenomena, climate, and it's another way for us to reconnect back to our environment.
Speaker: Absolutely.
Speaker: Absolutely.
Speaker: I realize like there is an artistic aspect to this when you're working with sound
Speaker: But then at the same time, we want to respect the scientific process.
Speaker: So how do you balance that so that it appeals to a wide audience?
Speaker: I think that's also, for lack of a better term, it's like that's in some ways the art of the transformation of data relations into kind of like our perceived relations of acoustic signals.
Speaker: But it's coming from a data signal into an acoustic signal.
Speaker: As soon as we get into perceived relations and we're using our ears to do that, we're now into like psychoacoustics.
Speaker: Like how's our relation between sound and our perception?
Speaker: I think that kind of matters.
Speaker: It's less sometimes about like, okay, we have a pitch mapping.
Speaker: It's going to go a lot higher.
Speaker: But what frequencies we choose and what the range is will matter almost as much as...
Speaker: for how we perceive it.
Speaker: For example, wood sound, burning fire, a work that I did called Wildfire, which is a 48-foot 16-channel speaker array along a wall that plays back a wave of fire sounds at the speed of actual wildfires.
Speaker: And working with fire scientists like Dr. Kerry Yedinek, learning that the sound of the fire really does play an impact on how we're perceiving the size of a fire.
Speaker: I have some examples for you, which is essentially I have the same recording of a wood sound, and I took and I rolled off all of the lows.
Speaker: So essentially it's a 1500 hertz filter, and I'm going to play three examples.
Speaker: Awesome.
Speaker: It's the same recording all three times.
Speaker: All I'm doing is just using EQ in different ways as a way just to hear and to ask the question, like, how loud is this fire?
Speaker: And this is kind of like a psychoacoustic thing of how our brains are, like, relating to sound.
Speaker: through frequency so here's the very first one would fire and everything's been rolled off or cut below 1500 hertz so like how loud is that fire we're kind of thinking about how that's that fire here's the actual recording of that fire
Speaker: flat frequency, there's no EQ whatsoever, this is just the mic on this would fire.
Speaker: Wow.
Speaker: And now the third example is that we're, th is is what I learned from Dr. Kerry Unak, is that low frequencies really here are going to help in part size.
Speaker: So what I did is now I've taken 300 hertz, some low frequencies, and I've boosted it by 12 dB.
Speaker: And that's the only thing I applied to the same recording of this fire sound.
Speaker: Here we go.
Speaker: size can change just based upon what's being played back to you.
Speaker: So understanding sound design combined with sonification, that takes it to a whole different level.
Speaker: And I think that's the challenge kind of for sonification in the sonification field is that sometimes it requires attuned understanding and some more knowledge that we need to almost start early in education
Speaker: I want to ask you just a little bit more about that wildfire project.
Speaker: What drew you to that topic of sonifying wildfires?
Speaker: Oh, what drew me in, I grew up on the East Coast.
Speaker: I only knew wildfire from what you see on TV.
Speaker: And it wasn't until I moved to the West Coast and I took a trip in 2018 where I drove from Oregon, where I live,
Speaker: down to California for a conference, I got routed off of I-5.
Speaker: And probably a couple hundred miles before I got routed off, I was driving near Mount Shasta in Northern California, and the Delta Fire was happening.
Speaker: And it was like a scene from Mad Max.
Speaker: Smoke had basically covered the sun, and so it's this huge red dot.
Speaker: Massive red dot.
Speaker: The disruption and kind of destruction of just seeing burnt, charred landscape as I'm driving down, I'm like, I don't even know what's going on here.
Speaker: It's like, there's just the toxic fumes of you just like, if it's just even inside air in your car, you're still getting wildfire smoke in your car.
Speaker: So it's like you're driving through a campfire continuously.
Speaker: I got routed off of the interstate, which is like insane to me that like they are closing the interstate and they closed the Amtrak completely shut down its operations going north and south during the Delta fire.
Speaker: The power to burn semi-trailers on I-5 and close the highway, stop trains was just like really eye-opening to me.
Speaker: And it was...
Speaker: this eight-hour drive that i was thinking about how do i bring my experience that experience of this devastating destructive power and force if you can't smell it right now and like if you're trying to bring this to an east coast audience you can't smell it
Speaker: You're only being able to see kind of like the burning, but how do you get the experience of that with, say, sound?
Speaker: How would I do this orally and using that as a way to embody that destructive force?
Speaker: Wildfires on the West Coast kind of blow apart kind of what scientists have for models of
Speaker: typical fire behavior, typical fire spread.
Speaker: And I think that's also this destructive power is that in the last couple of years, moving faster, they're burning hotter, destroying more, having more damage to the landscape than what kind of we have in terms of like fire science behavior models.
Speaker: When I heard them, like when I heard the wildfire recordings,
Speaker: the impact on me instantly was basically like, wow, like this is how fast something can change.
Speaker: Like if I was in an area that was in danger of a wildfire, now I would think about it differently.
Speaker: So that's an impact that I don't think like looking at statistics
Speaker: could really have had.
Speaker: It's amazing to me that you were able to incorporate all of those different variables into these recordings.
Speaker: I nerded out and had a lot of fun in doing that type of work.
Speaker: And then, uh, it's also some of that is the challenge of getting into the
Speaker: the tech, how do I make this thing actually work?
Speaker: I'm working in on headphones, if I play back all the 16 channels at once, it sounds like a nightmare.
Speaker: How do I break it out and then put it in a space without having heard it, but trusting that I know that it's gonna work because I've done my math right in the recording process.
Speaker: Yeah, I wish I could have read it live.
Speaker: Hopefully I get a chance sometime.
Speaker: I don't know if you've got any plans for it to.
Speaker: Currently we'll have it in here at the University of Oregon.
Speaker: It'll be installed in April of 2023.
Speaker: The, so it'll be its first West Coast appearance.
Speaker: It's third time being installed.
Speaker: Man, well, that's cool to hear that.
Speaker: I hope that somehow I can get down there and get a chance to listen.
Speaker: Now, John has kindly shared a few examples from the wildfire project with us.
Speaker: So we're going to take a listen to a few of the different wildfire experiences.
Speaker: First, we're going to listen to a kind of fire that's called a crown fire.
Speaker: This type of wildfire spreads rapidly through the forest canopy, basically moving from treetop to treetop.
Speaker: Usually it's very intense, very difficult to control.
Speaker: Let's take a listen.
Speaker: Crown fire, forest, low dead fuel moisture content, high wind speed, level terrain, upper average forward rate of spread, 297.6 chains per hour, 3.72 miles per hour equivalent.
Speaker: Okay, so let's contrast what we just heard with a recording of the Camp Fire.
Speaker: Now, this was an actual wildfire that began near Paradise, California on November 8th, 2018.
Speaker: Campfire near Paradise, California, November 8, 2018.
Speaker: Low moisture content, mixed terrain.
Speaker: Wind speed, 50 miles per hour.
Speaker: Peak perimeter rate of spread, 67,000 square chains per hour, 83 miles per hour equivalent.
Speaker: So having heard the speed at which that fire moved and knowing that it burned for 17 days, destroyed 18,800 structures, caused 85 deaths and resulted in 16.5 billion in damages.
Speaker: Now hearing that fire and how it moves,
Speaker: It conveys more than just information.
Speaker: There's definitely a powerful emotional impact that accompanies the sonification of this fire data.
Speaker: We'd like to thank John so much for taking the time to talk with us and for sharing these examples that illustrate the power that sound and sonification have to help us comprehend data in new ways.
Speaker: We would love to permanently store some sonifications in the Forever Stories vault.
Speaker: If you have a sonification or an idea for a sonification project that you would like to store forever on the Arweave blockchain, head over to foreverstories.xyz where you can permanently store your sound file for free.
Speaker: We are able to make this permanent storage available to everyone thanks to the collaboration and support from Accord.
Speaker: I'd like to share with you one last example of sonification.
Speaker: This example also happens to be a part of perhaps the most profound scientific discovery of our generation.
Speaker: It's even been compared to the discovery that the world was around.
Speaker: Are you ready to hear it?
Speaker: Okay, let me play that again.
Speaker: What you just heard was the first ever detection of a gravitational wave.
Speaker: A moment that changed our understanding of the universe and confirmed the theory of relativity.
Speaker: So how is that comparable to the discovery that the earth was round?
Speaker: And what role did sound or sonification play in helping us to understand this?
Speaker: Let's discuss the first question.
Speaker: Thinking back to when humans discovered that the earth was round, it changed everything.
Speaker: It changed navigation, transportation, our ideas, and just how people everywhere saw the world around them.
Speaker: So on September 14th, 2015, when the first gravitational waves were registered,
Speaker: It changed everything on a universe level because it confirmed the movement and merger of two massive black holes resulting in a gravitational wave that shook the fabric of space-time.
Speaker: And that meant that it actually also rippled through each one of us because all of us are a part of this fabric of space-time.
Speaker: And this is something that previously we didn't know.
Speaker: We had no idea that these massive universe-altering events were taking place in the cosmos.
Speaker: And this sound was evidence of that.
Speaker: So just like the discovery that the world was round and how it changed how we viewed the earth,
Speaker: This changed how we saw the universe.
Speaker: I remember hearing in a recorded presentation by Matt Evans, a professor of astrophysics at MIT, he made the comment that these kinds of stars and black holes, they're like the dinosaur bones of the universe.
Speaker: They're the remnants of massive stars that have collapsed under their own gravity
Speaker: And gravitational waves enable us to tell their story, to study them and the effects they have on their surroundings, turning astrophysicists and scientists into archeologists of the universe, uncovering the mysteries of space, time, and gravity.
Speaker: What role does sound and sonification specifically play in these discoveries?
Speaker: When the LIGO Observatory recorded these gravitational waves, the data looked just like a waveform.
Speaker: And so when they use sonification to convert the frequency and amplitude data from the gravitational wave reading and turned it into audible sound, the resulting sound was this chirp, this rising tone.
Speaker: Now this sound provided a new way for scientists to listen to and analyze the data from gravitational waves, which meant new insights into the waves and what caused them.
Speaker: Now, before this first wave was ever documented,
Speaker: scientists had anticipated what the sound of two black holes merging would be like.
Speaker: So when it actually happened and it was recorded, this provided confirmation of those theories and it meant that the theory of relativity that had guided so many astrophysicists in their exploration of the universe, it was true.
Speaker: It went from being science fiction to science fact.
Speaker: And sonification,
Speaker: enabled them to make discoveries that they wouldn't have made otherwise.
Speaker: Now, all this isn't to say that sonification pairs well with every kind of data.
Speaker: Sometimes the sounds mapped to something can be pretty subjective and they might not communicate what we think the underlying data is saying.
Speaker: But the examples we discussed in this episode show us that sonification has the potential to unlock new understandings
Speaker: and to help us appreciate data in unique and unexpected ways.
Speaker: Our brains are only able to sample a limited amount of the data in our environment.
Speaker: We can't process UV, infrared, radio waves, X-rays, despite the fact that they surround us and even pass through us.
Speaker: But could we use the senses we have to help us process more of the data available in the world around us?
Speaker: If we think of the data we have available as a kind of sensory buffet, why limit ourselves to just one dish?
Speaker: Can we experience more?
Speaker: Can we discover something new?
Speaker: What if our favorite dish is just sitting there, waiting to be tasted?
Speaker: It's exciting to think of where sonification could take us next.
Speaker: for those of you who may not be aware, I want to mention something about this podcast that makes it very unique.
Speaker: Each episode of Stories Worth Telling Forever is stored permanently on the Arweave blockchain.
Speaker: That means regardless of what service you use to listen, each episode will remain permanently available.
Speaker: And we would like to thank Accord, AKORD.com, for making it easy to preserve these stories worth telling forever.
Speaker: Well please enjoy one last sonification of the New York City skyline as performed by Sonja Rubinski.
Speaker: so
Speaker: Thank you.
Speaker: The end of the day is a very difficult time to get the same.
Speaker: The end of the day is a very difficult time to get the same.
Speaker: you
