Journal articles on the topic 'Neutral point clamp'

A novel hybrid clamped dual-PWM three-level converter topology is proposed for induction motor drives in this paper. The switching states of hybrid clamp three-level converters increase to sixty-four from twenty-seven switching states of diode clamp three-level converters. In order to realize optimization of its redundant voltage space vectors by detecting voltage of clamp capacitor and difference of capacitor voltage in DC side, Generating an optimized switching pattern, The hybrid clamped three-level converter increases the voltage levels number, reducing the harmonics associated to the commutation frequency and limiting the dv/dt by all the switches . It can quickly balance the DC voltage, Realized system of 4-Quardant Running. the control circuit and main circuit was designed with DSP and CPLD, experimentation results proved it is very effective and practicability.

Active power filter can compensate harmonic and reactive power, Three level neutral point clamp (ANPC) has the characteristics of low output harmonic and low device loss. The control of three-level active power filter needs to consider multiple objectives. Finite control set model predictive control (FCS-MPC) is a new method which can add constraints and multi-objective control. According to the limit of the switch state, it can track the reference current, which has the characteristics of fast dynamic response and good compensation effect. This method not only keeps the neutral point voltage balance, but also solves the problem of unstable switching frequency.

<span lang="EN-US">This paper confers on investigation of a direct torque control (DTC) of induction motor drive by 3 level neutral point clamp (NPC) multilevel inverter. The imbalance problem may deteriorate the electric drive performances which might cause a short circuit condition. Various balancing control strategies were proposed, however, most of them employed complex space vector modulation (SVM) and hysteresis-based controller that generates variable switching frequencies. The proposed method will offer a reliable balancing control strategy with a constant switching frequency, and moreover, it will provide excellent electric drive performances. This research proposed a new multi carrier switching modulation strategy that establish a high-band-width control for neutral point potential in the NPC inverter. Potency of the proposed high-bandwidth potential balancing strategy is validated through the MATLAB/SIMULINK environment.</span>

Considering the disadvantages of the traditional development pattern in an embedded control system for an inverter, that is, the single-process thinking and separation of software and hardware, a novel method, which is a model-based design, for developing a double closed-loop control system for the diode-clamped three-level inverter was proposed. System control models, including the PWM control algorithm model, the voltage control model, the neutral-point potential balancing model, and the frequency control model, were built with the MATLAB platform. The code-generation capacity and the operation effect were verified through a series of tests. The inverter with diode clamp and neutral-point potential control was developed. Codes were generated automatically and downloaded to the eZdsp28335 control chip. Experimental waveforms of the phase voltage, line voltage and current were analyzed under regulating the voltage and frequency. The experimental results demonstrate that the models and the generated codes are correct. Further studies have proven the feasibility of the system development model.

In this paper the standalone operation of the modified seven-level Packed U-Cell (MPUC) inverter is presented and analyzed. The MPUC inverter has two DC sources and six switches, which generate seven voltage levels at the output. Compared to cascaded H-bridge and neutral point clamp multilevel inverters, the MPUC inverter generates a higher number of voltage levels using fewer components. The experimental results of the MPUC prototype validate the appropriate operation of the multilevel inverter dealing with various load types including motor, linear, and nonlinear ones. The design considerations, including output AC voltage RMS value, switching frequency, and switch voltage rating, as well as the harmonic analysis of the output voltage waveform, are taken into account to prove the advantages of the introduced multilevel inverter.

Different Half-Bridge (HB) converter topologies for an Integrated Voltage Regulator (IVR), which serves as a microprocessor application, were evaluated. The HB circuits were implemented with Stacked Transistors (HBSTs) in a cutting-edge 14 nm CMOS technology node in order to enable the integration on the microprocessor die. Compared to a conventional realization of the HBST, it was found that the Active Neutral-Point Clamped (ANPC) HBST topology with Independent Clamp Switches (ICSs) not only ensured balanced blocking voltages across the series-connected transistors, but also featured a more robust operation and achieved higher efficiencies at high output currents. The IVR achieved a maximum efficiency of 85.3% at an output current of 300 mA and a switching frequency of 50 MHz. At the maximum measured output current of 780 mA, the efficiency was 83.1%. The active part of the IVR (power switches, gate-drivers, and level shifters) realized a high maximum current density of 24.7 A/mm2.

The changes in the central control of sweating were investigated in five sleeping subjects under neutral and warm conditions [operative temperature (To) = 30, 33, and 34 degrees C; dew-point temperature = 10 degrees C]. Esophageal (Tes) and mean skin (Tsk) temperatures, chest sweat rate (msw,1), and concomitant electroencephalographic data were recorded. Throughout the night, msw,1 was measured under a local thermal clamp of 38 degrees C. Results showed that the thermal environment exerted a strong influence on both the levels and the time patterns of body temperatures. Moreover, local sweating rate correlated positively with Tes, and this relationship varied according to sleep stages. For a given Tes level, there was a sleep stage-related gradation in msw,1 that was higher in slow-wave sleep (SWS) than in stage 1-2 and the lowest in rapid-eye-movement (REM) sleep. This is explained by a change in the excitability or the sensitivity of the thermoregulatory system. The msw,1 differences between stage 1-2 and SWS are accounted for by a decrease in the Tes threshold (Tset) for sweating while the slope of the msw,1-Tes relation remains unchanged. The lower msw,1 in REM sleep is explained by a lesser slope for the msw,1-Tes relation without any Tset change from stage 1-2.

The major cause of sudden cardiac death (SCD) is ventricular arrhythmias due to unstable myocardial electrical activity in which the ATP-sensitive K+ (KATP) channels play a role. Genetic disruption of these channels predisposes the myocardium to arrhythmias. Two point mutations in the Kir6.2 subunit are found in SCD with acute myocardial infarction. Here we show evidence for the functional consequences of the P266T and R371H variants. Baseline single-channel properties, expression density, and channel modulations were studied in patch clamp. We focused on channel modulations by intracellular ATP and protons, as the concentration of these two important KATP channel regulators changes widely with hypoxic ischemia. We found that both variants expressed functional currents even though they occur at two highly conserved regions. The open state probability of P266T was twice as high as the wild-type (WT) channel, whereas its channel density was only ∼20% of the WT channel. Although the outward current was not affected by these two mutations at neutral pH, it was ∼20% lower at acidic pH in the P266T than in the WT channel. Both P266T and R371H mutations significantly reduced ATP sensitivity and increased pH sensitivity. More dramatically, allosteric regulation by intracellular ATP and protons was almost completely eliminated in the polymorphic P266T and R371H channels. Such an abnormality was seen in both inward and outward currents. Given the importance and beneficial effects of allosteric regulation in cellular responses to metabolic stress, the loss of such a regulatory mechanism in the P266T and R371H variants appears consistent with the adverse consequences occurring during acute myocardial infarction in patients.

Abstract Background and Aims Previous studies have evaluated electrostimulation of the tibialis anterior muscle via ultrasound. However, to the best of our knowledge, to date, no study has compared percutaneous stimulation compared to transcutaneous stimulation. The aim of this study was to analyze and compare the influence of percutaneous stimulation versus transcutaneous stimulation on the angle and muscle width of the proximal motor point of the tibialis anterior among healthy individuals using ultrasound. Material and Methods A longitudinal prospective study. The study variables were muscle thickness and pennation angle, measured using ultrasound. A sample of 4 healthy individuals with a mean age of 35.25 years ( ± 2.17), mean height of 1.70m ( ± 0.03) and weight of 67.35kg ( ± 6.32), participated in this study. Stimulation was performed on the tibialis anterior of the dominant leg of each individual (n = 4). The subjects were seated in a vertical position. For position 1, the knee of the dominant leg remained completely extended and the ankle was fixed in a neutral position with an orthosis comprised of Velcro straps which immobilized the ankle and forefoot joints. For position 2, the knee remained flexed 90 degrees with the foot fixed in the orthosis and supported on the floor. The proximal motor point of the tibialis anterior muscle was located. A biphasic symmetric pulse current was used with the maximum tolerated intensity. Transcutaneous stimulation was performed via a small circular electrode, and for percutaneous stimulation a filiform acupuncture needle was used. To capture the ultrasound images, the probe was placed on a system with an articulated mechanical arm and a clamp that enabled the possibility of adjusting the height and/or angle and the position marked on the skin. Normality was contrasted using the Shapiro-Wilk test and sphericity was tested using the Mauchly's test. Analysis of variance was performed (ANOVA) for repeated measures. Results The comparison of both techniques in position 1 did not show significant differences between the transcutaneous technique versus the percutaneous technique neither for the angle (F = 2.07; p-valor = 0.18), nor for the width (F =0.28; p-value = 0.60). In the case of position 2, significant differences were not found between the transcutaneous technique versus the percutaneous technique, neither for the angle (F = 0.28; p-value = 0.606) nor for the weight (F =0.11; p-value = 0.75). Conclusions The comparison of transcutaneous stimulation versus percutaneous stimulation in the proximal motor point of the tibialis anterior does not seem to show statistically significant differences for muscle width nor pennation angle.

In this paper, I discuss some of the new facts that have been learned about Magellanic Cloud clusters, mostly thanks to new detectors and associated reduction code. I first show the extent of the LMC cluster system, in order to note that studies of age, abundance, and kinematics of the cluster system have been missing clusters to the north and south of the Hodge and Wright atlas, and to point out that star formation has gone on in places far from present day neutral hydrogen. I will concentrate on the intermediate age clusters (108-1010 y) in the discussion concerning new stellar evolution results, neglecting the 107 y clusters and 30 Doradus. I further restrict my choice of topics to 1) the luminosity of clump giants, 2) the youngest possible RR Lyrae stars, and 3) the patterns and history of cluster formation. The discussion of abundances of Cloud clusters leads readers to the excellent poster papers presented at this meeting.

Abstract We present the first Mg ii slit-raster spectra from the Interface Region Imaging Spectrograph (IRIS) that fully capture the genesis and coronal-jet-generating eruption of a central-disk solar minifilament. The minifilament arose in a negative-magnetic-polarity coronal hole. The Mg ii spectroheliograms verify that the minifilament plasma temperature is chromospheric. The Mg ii spectra show that the erupting minifilament’s plasma has blueshifted upflow in the onset of the jet spire and simultaneous redshifted downflow at the location of the compact jet bright point (JBP). From the Mg ii spectra together with Solar Dynamics Observatory/Atmospheric Imaging Assembly (SDO/AIA) EUV images and SDO/Helioseismic and Magnetic Imager (HMI) magnetograms, we find: (i) the minifilament forms above a flux-cancelation neutral line at an edge of a negative-polarity network flux clump; (ii) during the onset of the minifilament’s fast eruption and jet spire, the JBP begins brightening over the flux-cancelation neutral line. From IRIS2 inversion of the Mg ii spectra, the JBP’s Mg ii bright plasma has electron density, temperature, and downward (redshift) Doppler speed of 1012 cm−3, 6000 K, and 10 km s−1, respectively, and the growing spire shows clockwise spin. We speculate: (i) during the slow rise of the erupting minifilament-carrying a twisted flux rope, the top of the erupting flux-rope loop, by writhing, makes its field direction opposite to that of the encountered ambient far-reaching field; (ii) the erupting kink then can reconnect with the far-reaching field to create the spire and reconnect internally to create the JBP. We conclude that this coronal jet is normal in that magnetic flux cancelation builds a minifilament-carrying twisted flux rope and triggers the JBP-generating and jet-spire-generating eruption of the flux rope.

AbstractGalerkin weighted residual method (GWRM) is applied and implemented to address the axial stability and bifurcation point of a functionally graded piezomagnetic structure containing flexomagneticity in a thermal environment. The continuum specimen involves an exponential mass distributed in a heterogeneous media with a constant square cross section. The physical neutral plane is investigated to postulate functionally graded material (FGM) close to reality. Mathematical formulations concern the Timoshenko shear deformation theory. Small scale and atomic interactions are shaped as maintained by the nonlocal strain gradient elasticity approach. Since there is no bifurcation point for FGMs, whenever both boundary conditions are rotational and the neutral surface does not match the mid-plane, the clamp configuration is examined only. The fourth-order ordinary differential stability equations will be converted into the sets of algebraic ones utilizing the GWRM whose accuracy was proved before. After that, by simply solving the achieved polynomial constitutive relation, the parametric study can be started due to various predominant and overriding factors. It was found that the flexomagneticity is further visible if the ferric nanobeam is constructed by FGM technology. In addition to this, shear deformations are also efficacious to make the FM detectable.

A new phase shifted zero voltage switching (ZVS) self-oscillating pulse width modulation (PWM) high frequency stage-3 inverter with flying capacitor and neutral point clamp diodes for an induction heating application is presented in this paper. To achieve the peak voltage with less- harmonic output at above resonant frequency, this network has been customized and changed in reference with full-bridge network topology. Then, an input dc voltage equal to Vd⁄2 applied to control stress of device voltage. The model is operational between 50 and 80 kHz at the rated 440V dc voltage and can feed maximum power of 1000W to the grid. The heating as well as hardening of the iron has been done at 800°C temperature. The principle of operation of phase shifted AM-ZVS-PWM inverter along with the experimental results are presented in this paper to verify the performance of the system.

IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questioning the role of site within sound installation works. The potential for sound to create shared space and foster relationships between bodies, objects, and the surrounding environment is evident in recent contemporary art exhibitions. For MOMA’s Soundings: A Contemporary Score, curator Barbara London, sought to create a series of “tuned environments” rather than use headphones, emphasising the potential of sound works to envelop the gallery goer. Similarly, Sam Belinafante’s Listening, aimed to capture a sense of how sound can influence attention by choreographing the visitors’ experience towards the artworks. By using motorised technology to stagger each installation, gallery goers were led by their ears. Both London’s and Belinafante’s curatorial approaches highlight the current awareness and interest in aural space and its influence on bodies, an area I aim to contribute to with this article.Audio-based performance works consisting of narration or instructions received through headphones feature as a dominant trend within the field of theatre and performance studies. Well-known examples from the past decade include: Janet Cardiff’s The Missing Case Study B; Graeme Miller’s Linked; and Lavinia Greenlaw’s Audio Obscura. The use of sound in these works offers several possibilities: the layering of fiction onto site, the intensification, or contradiction of existing atmospheres and, in most cases, the direction of audience attention. Misha Myers uses the term ‘percipient’ to articulate this mode of engagement that relies on the active attendance of the participant to their surroundings. She states that it is the participant “whose active, embodied and sensorial engagement alters and determines [an artistic] process and its outcomes” (172-23). Indeed, audio-based works provide invaluable ways of considering how the body of the audience member might be engaged, raising important issues in relation to sound, embodiment and presence. Yet the question remains, outside of individual acoustic environments, how does sound build physical relations between bodies and across space? Within sound studies the World Soundscape Project, founded in the 1970s by R. Murray Schafer, documents the acoustic properties of cities, nature, technology and work. Collaborations between sound engineers and musicians indicated the musicality inherent in the world encouraging attunement to the acoustic characteristics of our environment. Gernot Böhme indicates the importance of personal and emotional impressions of space, experienced as atmosphere. Atmosphere, rather than being an accumulation of individual acoustic characteristics, is a total experience. In relation to sound, sensitivity to this mode of engagement is understood as a need to shift from hearing in “an instrumental sense—hearing something—into a way of taking part in the world” (221). Böhme highlights the importance of the less tangible, emotional consistency of our surrounding environment. Brandon Labelle further indicates the social potential of sound by foregrounding the emotional and psychological charges which support “event-architecture, participatory productions, and related performative aspects of space” (Acoustic Spatiality 2) these, Labelle claims enable sound to catalyse both the material world and our imaginations. Sound as felt experience and the emotional construction of space form the key focus here. Within architectural discourse, both Juhani Pallasmaa and Peter Zumthor point to atmospheric nuances and flows of energy which can cause events to furnish the more rigid physical constructs we exist between, influencing spatial quality. However, it is sensorial experience Jean-Paul Thibaud claims, including attention to light, sound, smell and texture that informs much of how we situate ourselves, contributing to the way we imaginatively construct the world we inhabit, even if only of temporary duration. To expand on this, Thibaud locates the sensorial appreciation of site between “the lived experience of people as well as the built environment of the place” (Three Dynamics 37) hinting at the presence of energetic flows. Such insights into how relations are built between bodies and objects inform the approach taken in this article, as I focus on sensorial modes of engagement to write through my own experience as listener-spectator. George Home-Cook uses the term listener-spectator to describe “an ongoing, intersensorial bodily engagement with the affordances of the theatrical environment” (147) and a mode of attending that privileges phenomenal engagement. Here, I occupy the position of the listener-spectator to attend to two installations, Invisible Flock’s 105+dB and Atelier Bildraum’s Bildraum. The first is a large-scale sound installation produced for Hull UK city of culture, 2017. The piece uses audio recordings from 16 shotgun microphones positioned at the periphery of Hull City’s soccer pitch during a match on 28 November 2016. The piece relocates the recordings in public space, replaying a twenty-minute edited version through 36 speakers. The second, Bildraum, is an installation performance consisting of photographer Charlotte Bouckaert, architect Steve Salembier with sound by Duncan Speakman. The piece, with a running time of 40-minutes uses architectural models, live photography, sound and lighting to explore narrative, memory, and space. In writing through these two case studies, I aim to emphasise sensorial engagement. To do so I recognise, as Salomé Voegelin does, the limits of critical discourse to account for relations built through sound. Voegelin indicates the rift critical discourse creates between what is described and its description. In her own writing, Voegelin attempts to counteract this by using the subjective “I” to foreground the experience of a sound work as a writer-listener. Similarly, here I foreground my position as a listener-spectator and aim to evidence the criticality within the work by writing through my experience of attending thereby bringing out mood, texture, atmosphere to foreground how relations are built across space and between bodies.105+dB Invisible Flock January 2017, I arrive in Hull for Invisible Flock’s 105+dB programmed as part of Made in Hull, a series of cultural activities happening across the city. The piece takes place in Zebedee’s Yard, a pedestrianised area located between Princes Dock Street and Whitefriargate in the grounds of the former Trinity House School. From several streets, I can already hear a crowd. Sound, porous in its very nature, flows through the city expanding beyond its immediate geography bringing the notion of a fictional event into being. I look in pub windows to see which teams are playing, yet the visual clues defy what my ears tell me. Listening, as Labelle suggests is relational, it brings us into proximity with nearby occurrences, bodies and objects. Sound and in turn listening, by both an intended and unsuspecting public, lures bodies into proximity aurally bound by the promise of an event. The use of sound, combined with the physical sensation implied by the surrounding architecture serves to construct us as a group of attendees to a soccer match. This is evident as I continue my approach, passing through an archway with cobbled stones underfoot. The narrow entrance rapidly fills up with bodies and objects; push chairs, wheelchairs, umbrellas, and thick winter coats bringing us into close physical contact with one another. Individuals are reduced to a sea of heads bobbing towards the bright stadium lights now visible in the distance. The title 105+dB, refers to the volume at which the sound of an individual voice is lost amongst a crowd, accordingly my experience of being at the site of the piece further echoes this theme. The physical structure of the archway combined with the volume of bodies contributes to what Pallasmaa describes as “atmospheric perception” (231), a mode of attending to experience that engages all the senses as well as time, memory and imagination. Sound here contributes to the atmosphere provoking a shift in my listening. The importance of the listener-spectator experience is underscored by the absence of architectural structures habitually found in stadiums. The piece is staged using the bare minimum: four metal scaffolding structures on each side of the Yard support stadium lights and a high-visibility clad figure patrols the periphery. These trappings serve to evoke an essence of the original site of the recordings, the rest is furnished by the audio track played through 36 speakers situated at intervals around the space as well as the movement of other bodies. As Böhme notes: “Space is genuinely experienced by being in it, through physical presence” (179) similarly, here, it is necessary to be in the space, aurally immersed in sound and in physical proximity to other bodies moving across the Yard. Image 1: The piece is staged using the bare minimum, the rest is furnished by the audio track and movement of bodies. Image courtesy of the artists.The absence of visual clues draws attention to the importance of presence and mood, as Böhme claims: “By feeling our own presence, we feel the space in which we are present” (179). Listening-spectators actively contribute to the event-architecture as physical sensations build and are tangibly felt amongst those present, influenced by the dramaturgical structure of the audio recording. Sounds of jeering, applause and the referees’ whistle combine with occasional chants such as “come on city, come on city” marking a shared rhythm. Specific moments, such as the sound of a leather ball hitting a foot creates a sense of expectation amongst the crowd, and disappointed “ohhs” make a near-miss audibly palpable. Yet, more important than a singular sound event is the sustained sensation of being in a situation, a distinction Pallasmaa makes, foregrounding the “ephemeral and dynamic experiential fields” (235) offered by music, an argument I wish to consider in relation to this sound installation.The detail of the recording makes it possible to imagine, and almost accurately chart, the movement of the ball around the pitch. A “yeah” erupts, making it acoustically evident that a goal is scored as the sound of elation erupts through the speakers. In turn, this sensation much like Thibaud’s concept of intercorporeality, spreads amongst the bodies of the listening-spectators who fist bump, smile, clap, jeer and jump about sharing and occupying Zebedee’s Yard with physical manifestations of triumph. Through sound comes an invitation to be both physically and emotionally in the space, indicating the potential to understand, as Pallasmaa suggests, how “spaces and true architectural experiences are verbs” (231). By physically engaging with the peaks and troughs of the game, a temporary community of sorts forms. After twenty minutes, the main lights dim creating an amber glow in the space, sound is reduced to shuffling noises as the stadium fills up, or empties out (it is impossible to tell). Accordingly, Zebedee’s Yard also begins to empty. It is unclear if I am listening to the sounds in the space around me, or those on the recording as they overlap. People turn to leave, or stand and shuffle evidencing an attitude of receptiveness towards their surrounding environment and underscoring what Thibaud describes as “tuned ambiance” where a resemblance emerges “between what is felt and what is produced” (Three Dynamics 44). The piece, by replaying the crowd sounds of a soccer match across the space of Zebedee’s Yard, stages atmospheric perception. In the absence of further architectural structures, it is the sound of the crowd in the stadium and in turn an attention to our hearing and physical presence that constitutes the event. Bildraum Atelier BildraumAugust 2016, I am in Edinburgh to see Bildraum. The German word “bildraum” roughly translates as image room, and specifically relates to the part of the camera where the image is constructed. Bouckaert takes high definition images live onstage that project immediately onto the screen at the back of the space. The audience see the architectural model, the taking of the photograph, the projected image and hear both pre-recorded ambient sounds by Speakman, and live music played by Salembier generating the sensation that they are inhabiting a bildraum. Here I explore how both sound and image projection can encourage the listener-spectator to construct multiple narratives of possible events and engage their spatial imagination. Image 2: The audience see the architectural model, the taking of the photograph, the projected image and hear both live and pre-recorded sounds. Image courtesy of the artists.In Bildraum, the combination of elements (photographic, acoustic, architectural) serve to create provocative scenes which (quite literally) build multiple spaces for potential narratives. As Bouckaert asserts, “when we speak with people after the performance, they all have a different story”. The piece always begins with a scale model of the actual space. It then evolves to show other spaces such as a ‘social’ scene located in a restaurant, a ‘relaxation’ scene featuring sun loungers, an oversize palm tree and a pool as well as a ‘domestic’ scene with a staircase to another room. The use of architectural models makes the spaces presented appear as homogenous, neutral containers yet layers of sound including footsteps, people chatting, doors opening and closing, objects dropping, and an eerie soundscape serve to expand and incite the construction of imaginative possibilities. In relation to spatial imagination, Pallasmaa discusses the novel and our ability, when reading, to build all the settings of the story, as though they already existed in pre-formed realities. These imagined scenes are not experienced in two dimensions, as pictures, but in three dimensions and include both atmosphere and a sense of spatiality (239). Here, the clean, slick lines of the rooms, devoid of colour and personal clutter become personalised, yet also troubled through the sounds and shadows which appear in the photographs, adding ambiance and serving to highlight the pluralisation of space. As the piece progresses, these neat lines suffer disruption giving insight into the relations between bodies and across space. As Martin Heidegger notes, space and our occupation of space are not mutually exclusive but intertwined. Pallasmaa further reminds us that when we enter a space, space enters us and the experience is a reciprocal exchange and fusion of both subject and object (232).One image shows a table with several chairs neatly arranged around the outside. The distance between the chairs and the table is sufficient to imagine the presence of several bodies. The first image, though visually devoid of any living presence is layered with chattering sounds suggesting the presence of bodies. In the following image, the chairs have shifted position and there is a light haze, I envisage familiar social scenes where conversations with friends last long into the night. In the next image, one chair appears on top of the table, another lies tilted on the floor with raucous noise to accompany the image. Despite the absence of bodies, the minimal audio-visual provocations activate my spatial imagination and serve to suggest a correlation between physical behaviour and ambiance in everyday settings. As discussed in the previous paragraph, this highlights how space is far from a disinterested, or separate container for physical relations, rather, it underscores how social energy, sound and mood can build a dynamic presence within the built environment, one that is not in isolation but indeed in dialogue with surrounding structures. In a further scene, the seemingly fixed, stable nature of the models undergoes a sudden influx of materials as a barrage of tiny polystyrene balls appears. The image, combined with the sound suggests a large-scale disaster, or freak weather incident. The ambiguity created by the combination of sound and image indicates a hidden mobility beneath what is seen. Sound here does not announce the presence of an object, or indicate the taking place of a specific event, instead it acts as an invitation, as Voegelin notes, “not to confirm and preserve actuality but to explore possibilities” (Sonic 13). The use of sound which accompanies the image helps to underscore an exchange between the material and immaterial elements occurring within everyday life, leaving a gap for the listener-spectator to build their own narrative whilst also indicating further on goings in the depth of the visual. Image 3: The minimal audio-visual provocations serve to activate my spatial imagination. Image courtesy of the artists.The piece advances at a slow pace as each model is adjusted while lighting and objects are arranged. The previous image lingers on the projector screen, animated by the sound track which uses simple but evocative chords. This lulls me into an attentive, almost meditative state as I tune into and construct my own memories prompted by the spaces shown. The pace and rhythm that this establishes in Summerhall’s Old Lab creates a productive imaginative space. Böhme argues that atmosphere is a combination of both subjective and objective perceptions of space (16). Here, stimulated by the shifting arrangements Bouckaert and Salembier propose, I create short-lived geographies charting my lived experience and memories across a plurality of possible environments. As listener-spectator I am individually implicated as the producer of a series of invisible maps. The invitation to engage with the process of the work over 40-minutes as the building and dismantling of models and objects takes place draws attention to the sensorial flows and what Voegelin denotes as a “semantic materiality” (Sonic 53), one that might penetrate our sensibility and accompany us beyond the immediate timeframe of the work itself. The timeframe and rhythm of the piece encourages me, as listener-spectator to focus on the ambient sound track, not just as sound, but to consider the material realities of the here and now, to attend to vibrational milieus which operate beyond the surface of the visible. In doing so, I become aware of constructed actualities and of sound as a medium to get me beyond what is merely presented. ConclusionThe dynamic experiential potential of sound installations discussed from the perspective of a listener-spectator indicate how emotion is a key composite of spatial construction. Beyond the closed acoustic environments of audio-based performance works, aural space, physical proximity, and the importance of ambiance are foregrounded. Such intangible, ephemeral experiences can benefit from a writing practice that attends to these aesthetic concerns. By writing through both case studies from the position of listener-spectator, my lived experience of each work, manifested through attention to sensorial experience, have indicated how relations are built between bodies and across space. In Invisible Flock´s 105+dB sound featured as a social material binding listener-spectators to each other and catalysing a fictional relation to space. Here, sound formed temporal communities bringing bodies into contact to share in constructing and further shaping the parameters of a fictional event.In Atelier Bildraum’s Bildraum the construction of architectural models combined with ambient and live sound indicated a depth of engagement to the visual, one not confined to how things might appear on the surface. The seemingly given, stable nature of familiar environments can be questioned hinting at the presence of further layers within the vibrational or atmospheric properties operating across space that might bring new or alternative realities to the forefront.In both, the correlation between the environment and emotional impressions of bodies that occupy it emerged as key in underscoring and engaging in a dialogue between ambiance and lived experience.ReferencesBildraum, Atelier. Bildraum. Old Lab, Summer Hall, Edinburgh. 18 Aug. 2016.Böhme, Gernot, and Jean-Paul Thibaud (eds.). The Aesthetics of Atmospheres. 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