Academic literature on the topic 'Degree Discipline: Sonic Arts'

The desire to make data accessible through the sense of listening has led to ongoing research in the fields of sonification and auditory display since the early 1990s. Coming from the disciplines of computer sciences and human computer interface (HCI), the conceptualisation of sonification has been mostly driven by application areas and methods. On the other hand, the sonic arts, which have always participated in the auditory display community, have a genuine focus on sound. Despite these close interdisciplinary relationships between communities of sound practitioners, a rich and sound- or listening-centred concept of sonification is still missing for design guidelines. Complementary to the useful organisation by fields of application, a proper conceptual framework for sound needs to be abstracted from applications and also to some degree from tasks, as both are not directly related to sound. As an initial approach to recasting the thinking about sonification, we propose a conceptualisation of sonifications along two poles in which sound serves either anormativeor adescriptivepurpose. According to these two poles, design guidelines can be developed proper to display purposes and listening modes.

The history of music in the twentieth century is viewed as a process of expanding the sonic material of music to include all sound. Technological barriers to the full exploitation of the domain of sound are suggested as causing the process to take more time than it would otherwise due to cultural or aesthetic factors alone. Important historical developments in music over the last century are reconsidered to be, at least in part, strategies for circumventing technological limitations to manipulating and accessing all sound. Support for this perspective is found in the words of artists and composers of the time and in comparisons between the technologies available for creation in the visual and the sonic arts. Sound modelling is examined as a post all-sound paradigm holding promise for normalising the relationship between sound and music.

The Scratch Orchestra, formed in London in 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton, included visual and performance artists as well as musicians and other participants from diverse backgrounds, many of them without formal training. This article deals primarily with the earlier phase of the orchestra's activity, between 1969 and 1971. It describes the influence of the work of John Cage and Fluxus artists, involving the dissolution of boundaries between sonic and visual elements in performance and the use of everyday materials and activities as artistic resources. It assesses the conflicting impulses of discipline and spontaneity in the work of the Scratch Orchestra and in the parallel activity of the Portsmouth Sinfonia and other related groups. The emergence in the early 1970s of more controlled forms of compositional activity, in reaction against anarchic and libertarian aspects of the Scratch Orchestra's ethos, is also discussed.

This text encapsulates the journey I embraced for my research—creation project on collaborative experimental lutherie. While pursuing my Master’s degree in Sonic Arts, I found myself deeply interested in the character and presence of the wind I was constantly stumbling upon in Belfast, Northern Ireland. By adopting the cosmoplitics approach proposed by Isabelle Stengers, read through the framework of the contemporary arts, I will evaluate the feasibility of presenting the sound making process as a collaborative platform where human and non-human actors are allowed to interact. While wondering how to establish sonic exchange mechanisms with the wind, I rediscovered the local kiting folk practices and began to study the kite using conceptual tools brought form the German media theory, particularly the work pioneered by Friedrich Kittler. It is a physical fact that the kite could not fly if either Wind or Human were missing; therefore, in that sense, I will argue that kite flying can be presented as Kulturtechnik whenever both actors find themselves affected by the result of the collaborative action. Going a step further, I will explore Kite crafting in terms of experimental Lutherie as a process in which the final “instrument” is indeed the result of wind-human sound interaction.

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.

Over the past two decades, collaboration has emerged as a keyword and an important methodological and ethical concern in various disciplines, which has nurtured interdisciplinary approaches that often encompass innovative processes of knowledge production. In sonic practice, trends such as participatory art, the workshop turn, and ideas of Do-It-With-Others contributed to the emergence of creative processes that manifest within the sphere of inter-human relations through participation and collaboration. Such processes can operate beyond the institutional space, or classic studio and gallery settings, by engaging directly with the social realm; blurring the lines between art, performance and our lived social, political, economic, technological and environmental realities. How are interdisciplinary practices, methodologies and vocabularies shaping the way sound and music works are created and experienced? How does this search for knowledge change sonic practice? The second issue of Airea Journal explores these questions by presenting practice-based and theoretical contributions of collaborative interdisciplinary creative processes in sound. This special focus on sound is addressed from multiple perspectives in relation to compositional, audiovisual, social, political, environmental, participatory and performative standpoints. This is a move that pays attention to and interrogates the aesthetics, methodologies and politics of interdisciplinary sonic practices. The sound arts often involve more than one disciplines and in order to study and comprehend them, an interdisciplinary approach is demanded. Many sound artworks are more than just (about) sound or sounds. Consequently, no single discipline is able to fully encompass how sound as affective and vibrant matter can be both reflexive and constitutive of social, cultural, political, religious, ethical, and perhaps even biological or cognitive developments. Sound can be investigated from almost any angle, and the articles in the present issue include numerous disciplines and subjects.

This paper presents the conditions of economic and political changes within the 90s in Bulgaria and the necessity of a new way of thinking at managing cultural institutions in the conditions of the market economy. As a response to that problem it was created the first of its kind in Bulgaria master’s degree program „Art management.“For that purpose a brief overview of the formal models of funding the arts worldwide are presented along with the characteristics at regional levels which led to the creation of the new educational programme.The main disciplines studied in the educational module aiming to develop a new set of skills among artists are listed with a brief introduction of their scope. A local survey conducted at the Academy of Music, Dance and Fine Arts – Plovdiv, analyzing the interest of the first of its kind in Bulgaria master’s degree program „Art management“ is presented. The initial result of the evolution of the educational programme based on the number of students enrolled per year are the motivation for the start of a lager research project “ÄRT” funded by the SRF, Ministry of Education and Science.

NASA will soon be collecting noise-annoyance community survey data as the X-59 aircraft flies supersonically over several communities in the USA. Sparse measurements of the X-59 sonic thumps will be used together with physics-based simulations to estimate noise doses at survey participant locations. These dose estimates have associated error that affects the accuracy of modeled dose-response curves, which can result in misestimation of annoyance. The precision in dose-response curves is also a consideration in selecting the number of survey participants. To enable pretest studies of dose error and precision, simulated dose-response data were generated based on NASA’s Quiet Supersonic Flights 2018 test. The data included various degrees of dose error and sample size. Frequentist multilevel logistic regression models were fit to the true and perturbed dose-response data. Simple proportional relationships were identified between the model parameters and the perturbation standard deviation. The summary dose-response curves illustrate the impact on accuracy if dose error is not accounted for in the model. The precision in the dose-response curves is also shown as the number of participants and degree of participation is varied. Finally, sampling variability is illustrated by showing the dose-response curves for several replicates with random draws of participants and errors.

While research has long been recognized as a high impact practice in undergraduate education, much of the scholarship on undergraduate research has focused on students in the final years of their degree. This article describes a study of the ability of first year students to undertake historical research in an introductory level course at a small liberal arts college. It discusses the challenges that first year student’s face in interpreting primary sources, working with multiple sources and crafting arguments based narratives about their findings. It also documents how a research paper assignment advances students’ historical thinking skills and contribute to the development of what the American Historical Association has termed the “core competencies” in the discipline.

At its heart, design is a studio-based discipline, which makes it difficult for design educators to adopt technology-driven changes into an online teaching and learning environment. Globally, few universities offer online undergraduate degree design courses, despite an overall growth in online higher degree curricula. Anecdotal evidence and limited research studies exploring the design educators’ view lament the potential loss of direct interactions between educator and design students in an online learning environment making it impossible to offer design education online. However, the attitude of design students towards online learning is largely underexplored. Given that today’s design students are considered tech-savvy, and there is a growing student demand for flexible study options, it would seem that design students would embrace online delivery options. The aim of this study is to explore the perception of undergraduate design students towards the idea of studying design online and whether or not blended learning could provide a transitional middle ground to a fully online design course. This study also touches on any student reservations about online delivery and identifies the barriers to study design online.

The Living Machines approach, which can be seen as an exemplar methodology for a wider initiative towards “convergent science,” implies and requires a transdisciplinary understanding that bridges from between science and engineering and to the social sciences, arts, and humanities. In addition, it emphasizes a mix of basic and applied approaches whilst also requiring an awareness of the societal context in which modern research and innovation activities are conducted. This chapter explores the education landscape for postgraduate programs related to the concept of Living Machines, highlighting some challenges that should be addressed and providing suggestions for future course development and policy making. The chapter also reviews some of the within-discipline and across-discipline programs that currently exist, particularly within Europe and the US, and outlines an exemplar degree program that could provide the multi-faceted training needed to pursue research and innovation in Living Machines.

simply valorize the digital or even the generative The generative arts have invented a new artistic pedesis and laid the ground for a new materialist aesthetics of the image. The chapter discusses the various forms that the generative arts have taken, including the ordered and disordered. In particular, disordered forms of contemporary images discussed here are the visual arts, literary, plastic, and sonic forms. The argument is not that the generative arts are the only or best forms of art. Their function has been to blaze a trail that shows us what all the arts have already been doing, to one degree or another. The challenge now is to unfold the consequences of this discovery in the arts, to draw our attention to what the contemporary image shows us about the image more generally and what it is capable of today.

The fourth chapter is a reflection on the book’s findings regarding presence, rendering and sonic reality presented across three chapters. In critically listening to the trajectories of sound production within world cinema and audiovisual media arts, it is observed that sites have been irregularly rendered and produced through various phases of sound production. Three primary historical markers are underscored that seem useful when locating and mapping prominent technological shifts. These developmental stages have manifested as aesthetic choices embraced by sound practitioners. This chapter details how these principles are reflected in the production of a site’s sonic presence. In other words, the various forms and formats of technological innovations and transformation have informed the degree of site-specific presence produced through the use of ambient sound components. Critical listening, reflection and analysis of the passages of sound from representative films, specifically depicting select generic sites and sonic environments in film and media works, qualify the evidential account of this research. The book’s final chapter also hints at future directions for film and media sound production.

Living Case Studies (LCSs) in the discipline of business provide a bridge from knowledge acquisition to knowledge practice in a real world context. They offer the facilitator a knowledge to application methodology and the student a learning by doing experience, which are oftentimes lacking in business courses. The Eynesbury Institute of Business and Technology (EIBT) offers a Diploma of Business leading to either the University of Adelaide or University of South Australia's degree programs in business-related fields. From 2010-2013, EIBT introduced a simulated LCS in its Diploma of Business program to extend collaborative methods and understanding of how different business courses can work together to achieve heightened student engagement. This chapter provides an overview of the journey from planning to implementation, approaches adapted in different courses, reflections on what was learned, and future recommendations if the LCS were to be re-implemented at EIBT.

Service Science, Management and Engineering (SSME) is an emerging discipline which studies service industry under an integrated framework. SSME education trains scientists and skilled service workers to promote innovation and productivity in service industry. Although quite a number of universities started SSME programs years ago, most of them are still in the stage of experiment, and only address a small portion of the total subject. This paper first discusses the objectives of SSME education program—the abilities that service workers and scientists should have. Then, three types of foundation courses of the current programs are discussed in depth; the bachelor, master and PhD degree programs offered currently are analyzed, which include the course contents and teaching methods. Based on the inspirations from these practical programs, a unified model for SSME education is developed and presented, which proposes to unify bachelor, master and PhD programs, and establishes a new service science department comprising areas of service management, service engineering and design, service arts and humanities.

Harvard’s nine professional schools were on the cutting edge of its evolution from a Brahmin to a meritocratic university. Custom, tradition, and the evergreen memory of the alumni weighed less heavily on them than on the College. And the professions they served were more interested in their current quality than their past glory. True, major differences of size, standing, wealth, and academic clout separated Harvard’s Brobdingnagian professional faculties—the Graduate School of Arts and Sciences and the Schools of Medicine, Law, and Business— from the smaller, weaker Lilliputs—Public Health and Dentistry, Divinity, Education, Design, Public Administration. But these schools had a shared goal of professional training that ultimately gave them more in common with one another than with the College and made them the closest approximation of Conant’s meritocratic ideal. Harvard’s doctoral programs in the Graduate School of Arts and Sciences (GSAS) were a major source of its claim to academic preeminence. As the Faculty of Arts and Sciences became more research and discipline minded, so grew the importance of graduate education. A 1937 ranking of graduate programs in twenty-eight fields—the lower the total score, the higher the overall standing—provided a satisfying measure of Harvard’s place in the American university pecking order: But there were problems. Money was short, and while graduate student enrollment held up during the Depression years of the early 1930s (what else was there for a young college graduate to do?), academic jobs became rare indeed. Between 1926–27 and 1935–36, Yale appointed no Harvard Ph.D. to a junior position. The Graduate School itself was little more than a degree-granting instrument, with no power to appoint faculty, no building, no endowment, and no budget beyond one for its modest administrative costs. Graduate students identified with their departments, not the Graduate School. Needless to say, the GSAS deanship did not attract the University’s ablest men. Conant in 1941 appointed a committee to look into graduate education, and historian Arthur M. Schlesinger, Sr., “called for a thoroughgoing study without blinders.

This paper addresses the understudied educational space of what is commonly understood as the preprofessional portfolio- development studio. It describes a design pedagogy developed to serve preprofessional and non-design-major students from liberal-arts colleges pursuing admission to a first-professional graduate degree program in architecture. Starting from the premise that in complexity lies myriad opportunities for discovery and growth, this studio establishes a robust platform for this unique group of students to encounter the richness and expansiveness of the discipline, and to understand and explore architecture’s capacities as an agent of positive change in the world. It is further argued that what a complex, case study-based design project facilitates for these beginning design students is a depth and richness of engagement, and that like a great work of literature, a complex architectural problem asks students to wrestle all at once with its many layers—with its clarity and contradictions, its strengths and shortcomings—and to evaluate its evolving place in, and meaning to society. In this light each student’s efforts to define their own approach can be shown to reveal insights not only about the object of study, but also about themselves and their own nascent interests in design, architecture, and the built environment.

ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.