The observable universe as a lissajous graph — a retro oscilloscope reborn
with the constellation's surfaces on top: a weave of curves, a graph drawn from sound,
a NOT-NAND grammar, and The Known Universe riding the beam.
Mic · output · sine · sawtooth · noise — phosphor decay, trigger, REC, the faithful OSC-9000 chassis.
Lissajous
fx:fy weaves a closed curve when the ratio is rational. Fibonacci ratios 1:1 → 34:55, up to seven traces, seeded phase drift, an organic feedback loop.
Universe
The atlas as a graph — vault · fleet · cosmos · logic rings on a seeded starfield, edges as lissajous chords, degree + closeness readouts.
NAND
The same graph re-woven by the ternary NOT-NAND grammar; everything is NAND, the graph is its truth table.
Known Universe
The AMNH film × Zimmer's Time (We Plants Are Happy Plants remix); the scope keeps weaving behind it.
Feedback
Carry each frame forward, zoomed and rotated, added back with lighter — the phosphor kaleidoscope. Default 0; the faithful scope.
lineage
Oscilloscope music — Jerobeam Fenderson, Spirals (Oscilloscope Music), where a stereo signal is the drawing: L→X, R→Y, one channel per axis. The hardware — the Ultra-Simple Oscilloscope: two builds of one idea, a solid-state driver (~200 V at ~220 kHz) and a tube build (~300 V), a push-pull stage that drives positive and pulls negative, the high voltage struck by a flyback transformer with a fast-recovery diode. The eye is a 2AP1 — 1.25″ round, electrostatic deflection, P1 green, or the dual-layer P7 that flashes blue-white and lingers yellow-green. The Tektronix 5103N is where the album was filmed from. The shelf — the diatribe papers; the wiki, crawled with robots.txt respect. The instruments above — AMNH Hayden Planetarium · Digital Universe Atlas · Uniview (SCISS). The turn — {−1, 0, +1}: the curve is the line; the graph is the observable; the beam is the witness.
the pale blue dot
"That's here. That's home. That's us."
The Known Universe mode is that logarithmic zoom — the AMNH film ×
Zimmer's Time (We Plants Are Happy Plants remix) — with the beam still weaving the graph
behind it. The smallest moment and the largest scale, on one screen, drawn from sound.