Thematische Bibliographien / Sonic Agency

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Auswahl der wissenschaftlichen Literatur zum Thema „Sonic Agency“

Autor: Grafiati

Veröffentlicht am 29. Juni 2021

Zuletzt aktualisiert am 17. Februar 2022

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Zeitschriftenartikel zum Thema "Sonic Agency"

DENORA, TIA. „Music and Erotic Agency - Sonic Resources and Social-Sexual Action“. Body & Society 3, Nr. 2 (Juni 1997): 43–65. http://dx.doi.org/10.1177/1357034x97003002004.

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Peters, Deniz. „Haptic Illusions and Imagined Agency: Felt Resistances in Sonic Experience“. Contemporary Music Review 32, Nr. 2-03 (Juni 2013): 151–64. http://dx.doi.org/10.1080/07494467.2013.775815.

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Makino, Yoshikazu. „Sonic‐boom research activities in the Japan Aerospace Exploration Agency (JAXA)“. Journal of the Acoustical Society of America 120, Nr. 5 (November 2006): 3077. http://dx.doi.org/10.1121/1.4787407.

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Morger, Martina. „Pro(Found) listening: Suggesting compassion through listening“. Journal of Arts Writing by Students 6, Nr. 1 (01.06.2020): 47–52. http://dx.doi.org/10.1386/jaws_00014_1.

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This article is about a sonic piece suggesting a way of compassion towards the female, the Other, learnt through listening to noisy sonic structures. With honest, active listening, we find ourselves in a compassionate state of mind towards our environment. We ourselves define these relationships with our surroundings and, as such, define the ways in which we perform or act in such a relation. If we acknowledge and support each other, we can go forward with personal and artistic integrity and attain even more agency through the method of honest listening. I suggest first listening to the sound piece.

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Blocker, Jane. „History in the Present Progressive: Sonic Imposture at The Pedicord Apts“. TDR/The Drama Review 59, Nr. 4 (Dezember 2015): 36–50. http://dx.doi.org/10.1162/dram_a_00495.

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Scholars often think of sound, even recorded sound, as having a special relationship to the real that other historical artifacts do not. But if sound is a material thing, and things can be, from a new materialist perspective, “quasi-agents,” is it possible that sound is an agent that poses or acts? Three “scenes of history” utilizing recorded sound—Beckett’s Krapp’s Last Tape, archival recordings of FDR, and a sound installation by Edward and Nancy Kienholz—provide diverse contexts through which to investigate the nature of sound’ s material agency.

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Brown, Steven D., Ava Kanyeredzi, Laura McGrath, Paula Reavey und Ian Tucker. „Organizing the sensory: Ear-work, panauralism and sonic agency on a forensic psychiatric unit“. Human Relations 73, Nr. 11 (23.10.2019): 1537–62. http://dx.doi.org/10.1177/0018726719874850.

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How are relations of care and security between hospital staff and patients organized through sound? This article argues that a shifting distinction between meaningful sound and noise is fundamental to the lived experience of immersion in an organizational acoustic environment. Based around a qualitative study of listening practices and ‘ear-work’ at a medium-secure forensic psychiatric hospital, using interview and photo-production methods, the article positions the organizing of the sensory as central to formal organization. Analysis of empirical material demonstrates how the refinement of key listening practices is critical to the ways in which staff and patients orient to the hospital setting. It also details how the design process for the unit has undermined the capacity to manage and control through sound, or ‘panauralism’, rendering it as a reversible and contested struggle to make sense of the acoustic environment, and describes the attempts by patients to create alternative acoustic spaces and exercise ‘sonic agency’. We contend that ‘acoustic organizational research’ offers an experience-near means of mapping organizational space and power relations and invites a renewed questioning of the role of the sensory as form of organizing in itself.

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Johnson, Whitney. „The Emancipated Listener“. Resonance 2, Nr. 3 (2021): 334–52. http://dx.doi.org/10.1525/res.2021.2.3.334.

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An aesthetic controversy regarding the value of conceptual and ambient sound art opens this theoretical investigation into sensation, perception, and understanding. The contrast between valuing sound through language or listening calls on aesthetic philosophy and social phenomenology to transcend existing theories of perception that tend to be rooted in the sense of sight. Extending from the sensus communis, the phenomenology of expanded listening demonstrates that sonic percepts are specified in terms of cognitive attention and temporal adumbration. Judgment and conviction are distinct evaluative processes that draw on cultivated taste and embodied sensation, respectively. An emancipated listener finds enhanced political agency in a sonic sensorium, obviating the mediation of text. Though the history of visual art has tended to value the skillful hand or conceptual mind of the artist, sound art may allow listeners to contribute a broad spectrum of meaning and value through bodies with diverse sensory abilities engaged in expanded discourse.

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Tinkle, Adam. „Experimental Music with Young Novices: Politics and Pedagogy“. Leonardo Music Journal 25 (Dezember 2015): 30–33. http://dx.doi.org/10.1162/lmj_a_00930.

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The author describes an experimental music-based pedagogy developed for workshops with untrained musical novices. He discusses the political impetus and implications for teaching music outside the traditional framework of instrumental skill-development and reproduction of extant works. Instead, he suggests an anti-hierarchical and empowering pedagogy through which anyone can exercise authorship and agency with music composition. Finally, he shows how the open-ended sonic inquiry—“the outcome of which is not foreseen”—that is characteristic of Cagean music resonates with trends toward STEM education.

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Peña, Ernesto, und Kedrick James. „Raw Harmonies: Transmediation through Raw Data“. Leonardo 53, Nr. 2 (April 2020): 183–88. http://dx.doi.org/10.1162/leon_a_01635.

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In this paper, the authors present the initial findings from explorations on transformation patterns of data in raw format when crossing or transmediating directly (i.e. unaffected by any other form of codification) between audio and visual media. These patterns have allowed the authors to engage in the production of transmediatic artifacts with some degree of control and agency, facilitating purposeful applications of transmediation. The products of such practices will enable a form of literacy, an aesthetic means to identify in visual media artifacts those patterns that could transmediate into useful or appealing sonic artifacts and vice versa.

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Hansen, Kai Arne, und Stan Hawkins. „Azealia Banks: ‘Chasing Time’, erotics, and body politics“. Popular Music 37, Nr. 2 (13.04.2018): 157–74. http://dx.doi.org/10.1017/s0261143018000053.

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AbstractDuring the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, ‘Chasing Time’ (2014), offering up various perspectives that probe into queer agency. It is suggested that techniques of sonic styling necessitate a consideration of subjectivity alongside genre and style. Employing audiovisual methods of analysis, we reflect on the relationship between gendered subjectivity and modalities of queerness as a means for demonstrating how aesthetics are staged and aligned to advanced techniques of production. It is argued that the phenomenon of eroticised agency, through hyperembodied display, is central to understanding body politics. This article opens a space for problematising issues of black female subjectivity in a genre that is traditionally relegated to the male domain.

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Mehr Quellen

Dissertationen zum Thema "Sonic Agency"

Tawaifi, Anjel. „Ljud som konstnärlig metod : En analys av sonisk estetik och politik i Lawrence Abu Hamdans ljudverk Saydnaya (the missing 19db)“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445288.

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The aim of this essay is to study the political and aesthetical qualities in Lawrence Abu Hamdans sound piece. In Saydnaya (the missing 19db) former detainees from the infamous Syrian prison Saydnaya are interviewed about the many sounds, silences and emotions that circulated in the prison. Since they were kept in total darkness during their stay in Saydnaya, their memories and impressions are sonic. The piece can therefore be called a sonic testimony and the detainees are referred to as earwitnesses. The methodological framework of this study is outlined by Salomé Voegelin in her book Listening to Noise and Silence. In the core of this method lies the notion of deep listening (also called sonic sensibility). From listening noise and silence naturally unfold. In order to define and discover the affects of the artwork and its sonic material, the theoretical work of Gilles Deleuze, Brian Massumi and Sara Ahmed is applied. More specifically the concepts of lines of flight and affect. Emotions and sound seem to blend in the most peculiar ways. This essay is just a suggestion of how that blend might look... or should I say sound? And most importantly this essay will investigate how these non-visual forces work, stick and flow. How they can be used and what they produce. Some of the questions that this essay will touch upon are: what are the sonic affects that this artwork produces? And how does the artist use noise and silence in the construction of Saydnaya?

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Bücher zum Thema "Sonic Agency"

A parent's guide to video games: A practical guide to selecting and managing home video games. Post Falls, Idaho: DMS, 1991.

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Tom, Badgett, Hrsg. Official Sega Genesis and Game Gear strategies, 2ND Edition. Toronto: Bantam Books, 1991.

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Sandler, Corey. Official Sega Genesis and Game Gear strategies, 3RD Edition. New York: Bantam Books, 1992.

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LaBelle, Brandon. Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths, University London, 2018.

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Labelle, Brandon. Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths, University London, 2018.

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Labelle, Brandon. Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths, University London, 2020.

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LaBelle, Brandon. Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths, University London, 2018.

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Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths Press, 2018.

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Gunderson, Frank, Robert C. Lancefield und Bret Woods, Hrsg. The Oxford Handbook of Musical Repatriation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190659806.001.0001.

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The Oxford Handbook of Musical Repatriation is an edited volume comprising thirty-eight chapters from contributors working in regions all over the world. This collection highlights studies exploring sonic repatriation in its broadest sense in the twentieth and twenty-first centuries. “Sonic” or “musical” repatriation refers primarily to the return of audiovisual archival materials to the communities from which they were initially recorded or collected. Repatriation is overtly guided by an ethical mandate to “return,” providing reconnection and Indigenous control and access to cultural materials—but as the chapters in this collection reveal, there are more dimensions to repatriation than can be described by simply “giving back” or returning archives to their “homelands.” The volume provides a dynamic and densely layered collection of stories and critical questions for anyone engaged or interested in archival work and repatriation projects. Its chapters constitute a body of thoughtful explorations that demonstrate through contemporary examples how negotiating ownership of and access to sonic heritage crosscuts issues involving (and challenges assumptions regarding) memory, identity, history, power, agency, research, scholarship, preservation, performance, distribution, legitimacy, commodification, curation, decoloniality, and sustainability. These examples set a precedent for musical repatriation, while also problematizing the historically transactional nature of returning archives. The Handbook explores these interdisciplinary streams and provides a dynamic space for critical analysis of archives and musical repatriation.

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Bonini Baraldi, Filippo. Roma Music and Emotion. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.001.0001.

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By combining long-term field research with hypotheses from the cognitive sciences, this book proposes a groundbreaking anthropological theory on the emotional power of music. It hig hlights a human tendency to engage in empathic relations through and with the musical artifacts, veritable “sonic agents” for which we can feel pity, compassion, or sympathy. The theory originates from a detailed ethnography of the musical life of a small Roma community of Transylvania (Romania), where Filippo Bonini Baraldi lived several years, seeking an answer to intriguing questions such as: Why do the Roma cry while playing music? What lies behind their ability to move their customers? What happens when instrumental music and wailing voices come together at funerals? Through the analysis of numerous weddings, funeral wakes, community celebrations, and intimate family gatherings, the author shows that music and weeping go hand in hand, revealing fundamental tensions between unity and division, life and death, the self and others—tensions that the Roma enhance, overemphasize, and perceive as central to their identity. In addition to improving our understanding of a community still shrouded in stereotypes, this book is an important contribution for research on musical emotion, which thus far has focused almost exclusively on western classical music.

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Buchteile zum Thema "Sonic Agency"

de los Ángeles Flores, María, Carol L. Adams-Means und Maxwell E. McCombs. „Inter-public-agenda-setting effect through political activism“. In Sonic Politics, 73–87. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: InterAmerican Research: Contact, Communication, Conflict ; ASHSER-1426: Routledge, 2019. http://dx.doi.org/10.4324/9780429423932-5.

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Baraldi, Filippo Bonini. „Embodied Interaction with “Sonic Agents”“. In The Routledge Companion to Embodied Music Interaction, 207–14. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-23.

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Eigenfeldt, Arne, und Philippe Pasquier. „A Sonic Eco-System of Self-Organising Musical Agents“. In Applications of Evolutionary Computation, 283–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-20520-0_29.

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Armstrong, Patrick, Stephanie Martin und Gary Lask. „Sonic Hedgehog Pathway Inhibition in the Treatment of Advanced Basal Cell Carcinoma“. In Biologic and Systemic Agents in Dermatology, 541–48. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66884-0_47.

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Alonso, Fernando, Sonia Frutos, Loïc Martínez und César Montes. „SONIA: A Methodology for Natural Agent Development“. In Lecture Notes in Computer Science, 245–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11423355_18.

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Bonini Baraldi, Filippo. „Toward an anthropological approach to musical empathy“. In Roma Music and Emotion, übersetzt von Margaret Rigaut, 263–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.003.0015.

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This chapter proposes an anthropological approach to musical empathy, relying on Alfred Gell’s notion of agency. It is claimed that: (1) musical emotions are best approached as empathetic phenomena, as opposed to cognitive acts involving the decoding of a message; (2) it is possible to distinguish between different types of musical empathy, depending on the type of agency relationship: “empathy with the musical being,” “empathy with the artist,” “empathy with musical memory-images,” and “intersubjective musical empathy”; (3) the representation of a network of agency can reveal the role played by the performance context in the emotions attributed to music; (4) The notion of agency makes it possible to consider “personal” tunes as “distributed persons,” as opposed to signs of persons; (5) the highly ornamented de jale (“sorrowful”) tunes can be seen as “sonic agents,” or “sonic beings” arousing in the listeners feelings of attachment, rapture, and loss.

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„Music and Erotic Agency – Sonic Resources and Social-Sexual Action“. In Music-in-Action, 89–111. Routledge, 2017. http://dx.doi.org/10.4324/9781315090672-6.

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Bernstein, Zachary. „Poetic Form and Psychological Portraiture in Babbitt’s Early Texted Works“. In Thinking In and About Music, 125–95. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.003.0005.

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In five early texted works—“The Widow’s Lament in Springtime,” Du, Two Sonnets, Vision and Prayer, and Philomel—Babbitt uses a variety of means to project both poetic form and the psychological life of the characters represented. Trichordal derivation is used to model metaphors of reference, dependency, and layers of psychological action. Divergences between voice and accompaniment can also create layers of agency and implication. In several instances, Babbitt’s desire to reflect the meaning of texts leads him to musical structures that depart from the practice and principles he develops in his instrumental work. Moreover, in all five of these pieces, poetic form—the sonic, syntactic, and visual aspects of poetry—is projected in numerous ways; this is shown to derive from Babbitt’s youthful career in musical theater. Some ways involve the coordination of serial and poetic articulation, and some involve non-serial musical dimensions.

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Boffone, Trevor. „Introduction“. In Renegades, 1–19. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577677.003.0001.

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The Introduction begins with an overview of the Renegade dance’s popularity and the major players who made the dance challenge go viral—namely, TikTok sensation Charli D’Amelio who is the app’s most-followed account, and Georgia teen Jalaiah Harmon who created the dance but wasn’t given any credit for it until the Dubsmash community mobilized around her. The story of the Renegade dance challenge, D’Amelio, and Harmon serves as an entry point into a conversation about the teen artists of color in this book, whom the book labels “Renegades.” Riffing off the viral “Renegade” dance to K-Camp’s “Lottery,” the book reappropriates the term to embody the nuanced ways that Dubsmash users, or self-professed Dubsmashers, use digital hip hop culture and platforms to push again the pervasive Whiteness in mainstream US pop culture, as evidenced on apps such as TikTok. Renegades take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives. The Introduction continues with a review of extant literature in social media and youth identity formation, with a particular focus on how Black teens engage with digital spaces. From there, it lays the groundwork for a theory of “Renegades.”

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Tom, Western. „Sonopolis“. In Audible Infrastructures, 158–77. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932633.003.0008.

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Infrastructures connect activism, sound, and citizenship. This chapter listens to the ways that infrastructures are generative: how they emerge from, produce, and permit different forms of political subjectivity. In Athens, citizenship is claimed and contested at street level. The author tells three stories from Athens, understood as a sonopolis, a center of political action, where citizenships are performed and protested in sound. The first story picks up from this introduction, focusing on amplification, belonging, and asking who sings the city. The second story tells of solidarity networks, and the infrastructural interventions of a community wi-fi network providing internet access to refugee housing projects. The third story is a collection of small events, listening to the everyday sonic practices of people navigating borders in the city, and their uses of mobile phones as tools of broadcast and transmission. The characters in these stories are various and multifarious: activists and hacktivists from various places, the state and municipality, the UN’s refugee agency, grassroots solidarity organizations, service providers, power supplies and the struggles over them, as well as the tools and technologies that are used to sound out claims of social citizenship. Combined, the stories show how infrastructures and citizenships are never fixed or finished. They are instead projects of competing imaginaries. In the sonopolis, migrant activisms disarticulate borders between citizens and noncitizens. In the sonopolis, infrastructures and belongings are bound together, made audible, contested and rerouted, produced and productive, emergent, iterative, adaptive, activist, creative, and fragile.

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Konferenzberichte zum Thema "Sonic Agency"

Tikka, Heidi. „Tactile-sonic enactments – on the agency of air in “Untitled No2, 2014”“. In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.19.

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Ichimaru, Osamu, Makoto Ishizuka und Kanji Muhashima. „Overview of the Japanese National Project for Super/Hyper-Sonic Transport Propulsion System“. In ASME 1992 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/92-gt-252.

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The Agency of Industrial Science and Technology (AIST), MITI of Japan, started research and development on a super/hypersonic transport propulsion system in FY1989 as an eight year project. The project, forecasting a flight cruise capability of up to Mach 5, aims at establishing basic technologies for an engine that combines a ramjet engine and a high performance turbojet engine. This paper presents the background, objective, organization, contents, etc., of this national project.

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Sugimoto, Taro, Shimpei Saito, Akiko Kaneko, Yutaka Abe, Akihiro Uchibori und Hiroyuki Ohshima. „Visualization Study on Droplet-Entrainment in a High-Speed Gas Jet Into a Liquid Pool“. In 2018 26th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/icone26-81695.

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A sodium-cooled fast reactor (SFR) is now under development in Japan. A shell-and-tube type once-through heat exchanger is to be installed to generate steam in the design. Low-pressure hot sodium flows in the shell side and high-pressure water, which heated to become steam, flows in the tube side. It has been anticipated that a pin hole is formed on the tube wall and high-pressure steam blows out from the hole. When a high-pressure steam flows out from the tube hole, a high-speed steam jet is formed in the sodium coolant. Fine sodium droplets are torn off from the sodium surface and entrained into the steam jet. Sodium-water chemical reaction causes an increase of entrained droplet temperature. The hot and high-speed sodium entrained droplets attack the wall of a neighboring tube and cause a wastage on the tube wall, which may lead to a failure propagation. In Japan Atomic Energy Agency (JAEA), an analysis code for the sodium-water reaction phenomenon, called SERAPHIM, has already been developed. Visualization data is required to validate the liquid entrainment model in this code. Since the flow velocity at the gas leakage is a sonic speed, it is extremely difficult to visualize the inside of the gas jet. Experiments have been carried out to visualize this phenomenon in the past; however, experimental data for model validation has not been entirely obtained due to the above-mentioned difficulty. Thus, the motivation of this study is to examine the possibility of visualization method and to clarify flow structure. To this end, we first performed the preliminary experiments using simple test facilities. Two types of test sections were used in the experiments: three-dimensional one and two-dimensional one. In the experiment using the three-dimensional one, we tried to visualize a more realistic phenomenon. Through this experiment, the whole gas-jet behavior was clearly captured. However, we found that the detailed droplet-entrainment behavior in a gas jet could not be obtained in this setup, especially at high-velocity conditions. Then, we carried out the experiments using the two-dimensional one. In these experiments, the flow structure of a gas jet was simplified. However, it was difficult to distinguish the liquid film formed on the wall surface of the test section from the entrained droplets. We considered that the liquid film is formed due to the nozzle outlet shape and improved the test section. By experiments with new test section, we succeeded in visualizing entrained droplets of relatively large diameter and calculated droplet diameter distribution. Then, we discussed the mechanism of entrained droplet behavior.

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Swamy, M. Venkata, Kenji Yoshigoe und Srini Ramaswamy. „SONIA: Secured Open Nautilus Intelligent Agent protocol“. In 2010 IEEE International Conference on Communication Systems (ICCS). IEEE, 2010. http://dx.doi.org/10.1109/iccs.2010.5686488.

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Gong, Yanjun. „The nonlinear oscillation of encapsulated microbubbles in ultrasound contrast agents“. In INNOVATIONS IN NONLINEAR ACOUSTICS: ISNA17 - 17th International Symposium on Nonlinear Acoustics including the International Sonic Boom Forum. AIP, 2006. http://dx.doi.org/10.1063/1.2210362.

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Peruzzini, D., J. Viti, P. Tortoli, M. D. Verweij, N. de Jong und H. J. Vos. „Ultrasound contrast agent imaging: Real-time imaging of the superharmonics“. In RECENT DEVELOPMENTS IN NONLINEAR ACOUSTICS: 20th International Symposium on Nonlinear Acoustics including the 2nd International Sonic Boom Forum. AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4934406.

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Zhou, Yuanxin, Mahesh Hosur und Shaik Jeelani. „Effect of Multiwalled Carbon Nanotube on Compression Properties of Carbon Fiber Reinforced Epoxy“. In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-85888.

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In this study, a high-intensity ultrasonic liquid processor was used to obtain a homogeneous mixture of epoxy resin and multi-walled carbon nanotubes (CNTs). The CNTs were infused into epon 862 epoxy resin through sonic cavitation and then mixed with W curing agent using a high-speed mechanical agitator. The trapped air and reaction volatiles were removed from the mixture using a high vacuum. Nanophased epoxy with 0.3 wt.% CNT was utilized in a vacuum assisted resin transfer molding (VARTM) set up with carbon fabric to fabricate laminated composites. The effectiveness of CNT addition on matrix dominated properties of composites has been evaluated by compression and open hole compression tests. The compression strength and open hole compression strength were improved by 31% and 39%, respectively, as compared to the neat composite.

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Capilla, Vicente Collado, und Sonia Gómez-Pardo Gabaldón. „URBAN LANDSCAPE ASSESSMENT“. In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6020.

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URBAN LANDSCAPE ASSESSMENT Vicente Collado Capilla1 and Sonia Gómez-Pardo Gabaldón21Servicio de Infraestructura Verde y Paisaje. Generalitat Valenciana. Ciutat Administrativa 9 D'Octubre-Torre 1, C/ Castán Tobeñas 77, 46018 Valencia; 2Servicio Territorial de Urbanismo. Provincia de Valencia. Generalitat Valenciana. Prop I, C/ Gregorio Gea, nº 27, 46009 Valencia. E-mail: vcc.arq@gmail.com sgpg.sgpg@gmail.com Key words: urban_landscape, streetcape, landscape_value, andscape_assessment, landscape_preferences. The urban landscape assesment as an important element in the quality of life and the sustainable development of the city constitutes an incipient field of investigation from a new perspective that adds meanings and values. An analysis of the different methodological developments and national and international experiences in the assessment of these landscapes will highlight its importance as a strategic element to improve the quality of the city. It starts from the concept of assessment as a system where tangible and intangible values are considered by the population and the experts. These include among other formal, economic, environmental, social, cultural issues (…) and the relationships between them. Consideration of the opinions of experts from different points of view such as urbanism and architecture but also environment, economy, geography, history, archeology, sociology, social assistance, etc. Together with the preferences expressed by the population regarding the spaces they inhabit on a daily basis and their aspirations, strengthen the sense of belonging and the identity of the place as key elements in the perception of the urban landscapes that allows to contribute new qualities, integration criteria and contemporary values to any type of intervention. These are strategies and intervention procedures that start from the complexity of the city as a system and incorporate the perception that citizens have or will have of their immediate environment. References: Czynska Klara and Pawel Rubinowicz (2015). ´Visual protection Surface method: Cityscape values in context of tall buildings´. SSS10 Proceedings of the 10 th International Space Syntax Symposium. Paquette Sylvain (2008). Guide de gestion des paysages au Québec. Université de Montréal Pallasmaa, Juhani (2005). The Eyes of the Skin. Architecture and the Senses. New York: John Wiley. Ministry of Environment and Energy The National Forest and Nature Agency (1997). International Survey of Architectural Values in the Environment. Denmark . The Landscape Institute and Institute of Environmental Management & Assessment (2013). Guidelines for Landscape and Visual Impact Assessment. Third Edition, London: Routledge.

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Talreja, Rahul, Somessh Bahuguna, Rajeev Kumar, Joseph Zacharia, Ashani Kundan und Vikrant Kalpande. „Geomechanics Insights for Successful Well Delivery in Complex Kutch - Saurashtra Offshore Region“. In IADC/SPE Asia Pacific Drilling Technology Conference. SPE, 2021. http://dx.doi.org/10.2118/201039-ms.

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Abstract Subsurface lithofacies sequences encountered in the Kutch & Saurashtra Basin has its own set of challenges brought about due to its complex geological settings. These challenges are related to drilling, logging and completion and demand rigorous planning for the upcoming wells with detailed analysis of hazards associated with the overburden and reservoir rocks. In the study, these challenges are found to be linked with three prime geological sequences. Detailed integrated geomechanical analysis with inputs from drilling parameters, real-time formation experience, geophysical and geological are conducted for the improvement in borehole condition and improvising the effective drilling rate. A customized geomechanical workflow has been adopted to construct Mechanical Earth Model (MEM, Plumb et al., 2000) for strategic wells across the basin. Wellbore stability events related to geomechanics were reproduced and analyzed. The cause of the events was established and mitigatory methods were proposed. In addition, stress orientation along the wellbore trajectory and across the basin was estimated using breakouts identified on images and multi-arm calipers. Fast shear azimuth from Dipole Shear Sonic anisotropy analysis was also integrated to provide more robust and accurate estimates. Wells in the region are characterized by slow ROP, high torque and drag, wellbore instabilities (severe held ups, cavings, stuck pipes, string stalling etc.) and challenges while logging and running casing. The study has characterized these challenges and identified required solutions linked to the three geological sequences - weak Tertiary, Late Cretaceous Deccan Trap and Early Cretaceous to Jurassic clastic formations. The Tertiary formations are relatively weak (UCS∼300 to 1500psi) and prone to sanding and cavings due to breakouts. MEM based mud weight window estimation predicts that shear/failure hole collapse can be prevented using 10ppg to 11ppg mud weight. The formations below the Deccan Trap are locally categorized under Mesozoic sequence. The Deccan Trap and Mesozoic formations are extremely hard, tight, extremely stressed, heavily fractured and in some areas are also of HPHT nature. Rock strength shows a wide variation (UCS ∼5,000psi to 25,000psi) making bit selection a difficult task. Borehole failure is complex and cuttings analysis shows the signature of both shear and weak plane failure. Fractures on the image logs, rotation of breakouts, and fast shear azimuth support this theory. Mixing fracture sealing agents along with the use of optimal mud weights is found to be the most likely drilling solution. The understanding developed in the region and implementation of recommended steps assisted in successful drilling of two recent wells wherein gun-barrel shape borehole condition in both Tertiary and the Mesozoic sequence was achieved. The non-productive time was reduced by nearly 40 days increasing the effective ROP by 40%. In addition, smooth borehole prevented any major issues while carrying out casing and cementing operations.

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Berichte der Organisationen zum Thema "Sonic Agency"

Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.

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