Gus was born blind, dumb and grumpy. He has spent all day,
every day since 1974, sitting on a curb by the street in the hot sun, in the blowing rain and
freezing snow, feeling completely unappreciated. All he does is listen and think. He has spent so
much time in that one spot listening to every nuance in the sounds around him that he can tell you
the number and height of the trees across the street. He can recognize different people not only by
their voices but from the sound of their individual footsteps. Gus knows how many cars are parked
nearby and if anyone were to tell him the make and model he could tell you that information as the
vehicles come and go.
But almost no one ever talks to him. When they do they end
up acting like he isn't there because he doesn't respond to their comments, or worse, they refer to
him as an object, saying things like if "that" wasn't there they could park where they wanted.
Things like that have a lot to do with why Gus is so grumpy.
Saying he is dumb means that he can't talk, not that he is
stupid. Far from it. Gus isn't distracted by needing a job to survive or the ups and downs of
personal relationships. He has no ambition to consume his mind, and only one hope, that the day
will come when someone will be able to get him to open up so everything that has been pent up inside
him can spew out in a never ending gush of release.
But Gus can't talk, or write, or communicate in any way at
all. All he can do is listen and think, so he thinks a lot about the sounds he hears.
He asked himself how it is that he can tell where a sound
comes from, and it took a really long time before he figured it out. First he realized that a sound
coming from his right reached his right ear before it reach his left ear. It was louder, and it
sounded brighter, having more high frequency content because the sound wasn't blocked by his head.
And because he was such a careful listener he also realized the sound waves must be slightly out of
phase due to the time difference in the arrival of the sound wave at each ear. In the same way,
sounds coming from his left took longer to reach his right ear, and all the other details were
simply reversed.
But what about sounds coming from behind him? That question
puzzled Gus for a long time, but one day he realized that the shape of his ears reduced some
frequencies more than others, and those changes in frequency content also told his brain when sounds
were coming from in front of him, above or below.
And there were other things involved, like the way sounds
reflected off surfaces creating really fast but faint echoes or reverberation, which helped him know
if the sound was bouncing off a car or a tree, and those reflections helped him to zero in on the
source of the sound.
One day Gus was sitting in his spot immersed in the center of
his spherical universe made of sound, listening to birds above and behind him, to cars speeding past
from left to right and water moving below him in the gutter -- when a eureka moment occurred. He
realized that if he were to put microphones inside his ears and make a recording, which was then
played back through headphones, all the dimensional sound information would be reproduced and any
listener would believe they were sitting exactly where he was. If someone walked past on the
sidewalk behind him during the recording, the listener would also hear someone walk behind them.
Yeah, Gus thought he had invented something pretty cool, but
it only made him even more grumpy because he could't tell anyone how clever he was.
Then one sunny afternoon Koda walked up to Gus and talked to
him like he actually existed.
"I know you can't respond," said Koda, "but that thing you
think you invented has been done before. It is called holophonics, and recordings have been made
where people wearing headphones can hear the sounds of someone getting their hair cut and it feels
just like they are getting their own hair cut. People have actually put microphones in the heads of
dead people to record a symphony so listeners feel like they are in the middle of the orchestra.
Holophonics is pretty cool, but Audio Animation goes way beyond that"
Gus was angry to begin with and he wasn't happy to learn that
someone else had beaten him to his big idea, but then again he would never be able to do anything
with it so he was somewhat pleased just to know it could actually be done. But this guy just told
him something even more amazing could be done with sound and Gus didn't believe it, 'cause no one
knew sound better than he did.
"Imagine you have those microphones in your ears and I snap
my fingers right here," said Koda. "Then I snap my fingers over here, and over here."
Koda walked around Gus repeatedly snapping his fingers all
around Gus's head.
"Imagine that rather than snapping my fingers I used a really
small source of sound, like the tip of a spark plug, and when electricity jumped the tiny gap it
would make a loud but very small, broad spectrum 'snap' so all the locational information could be
recorded by the microphones in your ears. Then I move the spark plug just a little bit to the left
and make another recording, then I move it again and again, constantly making recordings as the
spark plug is placed in every possible position in every direction around you."
Gus didn't move even a tiny bit but continued to listen to
Koda's explanation.
"Just as an example," he went on, "let's say we made digital
recordings of each 'snap' and used a computer to play back selected sounds one after another very
quickly."
Koda stood in front of Gus and moved his arm to trace a
circle in the air while repeatedly snapping his fingers, and Gus could hear a circle being drawn in
the air in front of him.
"A computer would play back much smaller points of sound and
they would come one after another much, much faster," said Koda, " so the circle you are hearing
would be much more clearly defined. And see," said Koda as he moved all around Gus, "I can make a
circle behind you, above your head, and down here by the ground. If I could snap my fingers fast
enough I could make one circle after another come at you and pass behind you so you would feel like
you were moving through a tunnel, a curving tunnel that twists and turns as you pass through it.
The tunnel could stop and change directions so you would travel through it backwards, and you could
'see' which way the tunnel was going to turn without having to turn your head to look behind you."
"I'm blind," thought Gus, "so I am not going to be turning my
head anyway."
"You could find yourself in the center of a rotating cube ten
feet across," said Koda enthusiastically, "and the cube could shrink till it was only one inch
across rotating in the center of your head. Of course, all those sound samples would need to be
analyzed to find out the exact variables that tell us how to position a sound where we want it, but
we could use that information to process musical sound so each instrument in an orchestra could
become a different geometric shape spinning and dancing in choreographed movement in every direction
around us at once! 3-D sound shapes like space ships could happen all around people in movie
theaters as they zoom by shooting laser cannons at each other.
"Peaow! Peaow!" said Koda, dancing all around Gus simulating
spaceships shooting at each other.
"This stuff could be broadcast on radio and television," said
Koda, "and just think about how cool animated, 3-D sound shapes would be in video games!"
Gus just continued to sit as still as stone, his attention
distracted by the sound of an approaching firetruck.
"Yeah, well, I guess you aren't that impressed," said Koda,"
but since you can't see you might be interested to know that Audio Animation can be used as a
mobility aid for the blind. A video camera and microchip inside a pair of eyeglasses could convert
black and white images into 2-dimensional sound shapes so blind people can recognize everything
around them, even read street signs and house numbers. Add depth detection technology and the world
around a blind person could be displayed as 3-D sound shapes. Gus, you could see clouds for the
first time in your life!"
Gus remained motionless, but Koda thought he could see a bit
of moisture collecting near Gus's nose.
Inside Gus was about to explode with joy. From the sound of
the approaching firetruck siren Gus knew that it was slowing down, and to him, the siren sounded
like an orchestra playing emotionally charged, beautiful music as a movie reached it's dramatic
climax. The siren because so loud Gus couldn't hear himself think, and when the truck stopped
directly in front of him with the siren still blaring Gus knew it was the end of people letting
their dogs pee on him. A fireman rushed toward Gus, clamped a huge pipe wrench on his nose and tore
it right off. Then a hose was attached where his nose used to be and the square nob on the top of
Gus's head was turned. At that moment Gus experienced true spiritual orgasm as his one and only
wish finally came true and everything inside him went gushing out.
END of chapter one
Koda is a crazy genius, though he would be the first to deny
the genius part. Besides "seeing with your ears" his ideas include simulating anti-gravity using
centrifugal force (inertial propulsion) and separating hydrogen and oxygen to use water as fuel. He
discovered the phenomenon of visual telepathy and developed a technique which enables essentially
anyone to experience it in just minutes. His most recent insight appears to prove that the greatest
minds in physics have long been incorrect in their assumptions about traveling forward in time.
He is also a talented recording artist.
The crazy stuff includes adventures on LSD, attempting to shape
shift, using psychic awareness to travel in space and time, considering becoming a hermaphrodite,
and otherwise teetering on the razor thin line between genius and insanity.
These ideas and many more will be described in this novel,
which is being presented online as it is being written. The first installment was posted on April
21, 2016.
Koda is a real person who has written 5 books and upwards of
100 songs, but he is still a "starving artist working toward becoming the world's oldest overnight success"
because he doesn't publicly promote his work. "I want my work to be famous, not my face," he says.
You can support his creative efforts by contributing directly
(see the Reward Options on the right) or by purchasing books and music through links on the
Reward Options page.
You might want to bookmark this page, or the chapter index,
where you can check to see when new material is posted.
The adventure continues in --