Sinus 64 + blue explores a relationship and dialog between sound and light and is a collaborative project carried out by composer and artist Jan Carleklev and textile design researcher Barbara Jansen. It is a practice based research project investigating on the borderline between art and design in order to explore new aesthetics and experiences. In Sinus 64 + blue, sound triggers and creates a dialog with the light embedded in a textile structure. The exhibited artefact uses PMMA optical fibre technology in a woven structure which is activated by light-emitting diodes (LEDs) and uses a digital interface to realize a novel, light-emitting textile expression. Sinus 64 + blue is part of the research for Barbara Jansen`s doctoral thesis which investigates the following research question: What does it mean, if time and change – constant movement – become part of the textile design expression? The research question has been investigated in a number of experiments which explore the visual effects of movement by using light integrated into textile structures as a medium. Thereby, the textile design pattern reveals its composition, not in one moment of time any more, but in fact over time. In this collaborative project, sound has been used as a trigger to activate time-based light patterns, whereby it does not only stimulate patterns of light but in fact initiates a dialog between the two. (Jansen, 2013) Installation The Sinus 64 + blue installation is based on a light-emitting woven structure (1x1 m) in which PMMA optical fibres have been interlaced with paper yarn. The optical fibres are lit by RGB-LEDs (red, green and blue LEDs which are activated through additive colour mixing) and programmed via a digital interface. In the initial experiments, the woven structure was programmed to react to three different basic sound elements, each of which triggered one of the base light colours of the RGB-LEDs, red, green or blue. The dialog between single sine pitches and the three primary colours of light explore elementary aspects of the relationship between sound and light. Sound and light have been stripped down to their most basic elements, i.e. the use of single frequency sound waves (sine pitches) and the three primary colours red, green and blue. Sound element one was created by playing three individual sine waves together. The individual sounds are slightly detuned in relation to each other, but all are close to the center frequency 64 Hz. This approach is causing interference between the three sine waves (The Physics class room, N.D., Infoplease, N.D.). The interference creates unique rhythmic sonic structures, which lay a steady beat as a foundation for the sound-light composition. This sound element triggered blue, pulsating light over the whole textile structure. Sound element two was created through a sequence of sine waves starting at a frequency of 100 Hz and increasing to 440 Hz (playing a scale from lower to higher pitch) before starting over from 100 Hz again. This over and over increasing sound scale activated the red light, floating upwards and upwards the textile structure over and over again. Sound element three was a melodic sequence of single sine waves which covered a range of high and low frequencies. They set off the green light dancing and pulsating over the textile structure. In the continued work towards composing an exhibition piece, sound-light element two and three were further developed. Sound-light element two was altered to play sequences of increasing and decreasing sine pitch scales and the tones of the scales of the pure sine waves were modified to a filtered white noise in order to simulate the sound of wind. The initial colour of the red light was given a richer colour spectrum which shift and fade between red and pink. Sound-light element three, the green colour was made richer and altered by adding some blue to achieve a more subtle nuance of green. Nevertheless, three distinct sound-light patterns create an overall composition by utilizing a more prosperous sound and colour landscape. Let yourself be surprised what happens when one, two or all three of these sound-light elements appear simultaneously during the eight minute long time-based composition.