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"The thing that I'm most interested in at the moment is the so-called Infinite Energy solution - the possibility of finding new ways of tapping into virtually limitless sources of energy."
- Arthur C. Clarke
 |
| Wonder-Box | ||
| A device that transmuted color directly into musical experience in the brain. |
| I can make no pretense of understanding it; although Edmund declared that, in substance, it was no more wonderful than a telephone. The machine consisted of a little metal box. (He made three of them, and I have mine yet, but it will not work on the earth, and it lies on my table as I write, serving for the most wonderful paper weight that a man ever possessed.) When this box was pressed against the ear in front of one of the revolving disks that threw out blending colors, or in the presence of a "singing" bird, the most divine harmonies seemed to awake in the brain. I cannot make the slightest approach to a description of the marvelous phenomenon. One felt his whole being infused with ecstatic joy. It was the very soul of music itself, celestial, ineffable! The wonder-box also enabled us to catch many sounds peculiar to the atmosphere of Venus, formed of vibrations, as Edmund had explained, that lie outside our gamut. But to these, apart from the music, I could never listen. They were too abnormal, filling one with inexplicable terror, as if he had been snatched out of nature and compelled to listen to the sounds of a preternatural world. The only sound that I ever heard with my natural ear which bore the slightest resemblance to these was the awful piercing whistle of the monster that killed Ala's man.
Yet we derived immense pleasure from the possession of those little boxes. With their aid, we could appreciate the exquisite melodies that were played everywhere—in great halls where thousands were assembled, in the temples great and small, and in the homes of the people, to which we were often admitted. In every house there was on one of the walls a "musical rose," whose harmonies entranced the visitor. And the variety of musical motifs seemed to be absolutely without limit. One was never tired of the entertainment because there was so little repetition. |
| Technovelgy from A Columbus of Space,
by Garrett P. Serviss. Published by The All-Story in 1909 Additional resources -
|
Compare to the visi-sonor from Foundation and Empire (1952) by Isaac Asimov, the peeper from Shadow World (1957) by Clifford Simak, the empathy box from The Little Black Box (1964) by Philip K. Dick and the krang from The Tar-Aiym Krang (2007) by Alan Dean Foster.
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