Relevant bibliographies by topics / Sonic Arts and Engineering

Academic literature on the topic 'Sonic Arts and Engineering'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Sonic Arts and Engineering"

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Buchen, Bill, and Mary Buchen. "Geo-Sonic." Leonardo 26, no. 1 (1993): 79. http://dx.doi.org/10.2307/1575786.

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Janney, Christopher. "Sonic Pass/Soundstair." Leonardo 25, no. 1 (1992): 93. http://dx.doi.org/10.2307/1575630.

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Rennie, Tullis. "Power Struggles: The Politics of Composing with Sounds of Protest." Leonardo Music Journal 25 (December 2015): 17–20. http://dx.doi.org/10.1162/lmj_a_00927.

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The author challenges perceptions of authorship within the practice of field recording, discussing sonic arts responses to political subject matter and examining the power dynamic among recordist/composer, subject and listener. He considers compositions drawing on recordings of protests as a medium to represent political content without recourse to language.
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Yeo, Woon Seung, Keunhyoung Kim, Seunghun Kim, and Jeong-seob Lee. "TAPIR Sound as a New Medium for Music." Leonardo Music Journal 22 (December 2012): 49–51. http://dx.doi.org/10.1162/lmj_a_00091.

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The Theoretically Audible, but Practically Inaudible Range (TAPIR) is sound in the highest bandwidth of human hearing; it is barely perceptible by most people but can be transmitted and received by stereotypical transducers. The authors suggest the potential of TAPIR sound as a new medium for music, sonic arts and mobile media.
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Parsons, Michael. "The Scratch Orchestra and Visual Arts." Leonardo Music Journal 11 (December 2001): 5–11. http://dx.doi.org/10.1162/09611210152780601.

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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.
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Bradlow, Ann, Jennifer Cole, and Matthew Goldrick. "Graduate studies in acoustics at Northwestern University." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A122. http://dx.doi.org/10.1121/10.0015751.

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Northwestern University has a vibrant and interdisciplinary community of acousticians. Of the 13 ASA technical areas, 3 have strong representation at Northwestern: Speech Communication, Psychological and Physiological Acoustics, and Musical Acoustics. Sound-related work is conducted across a wide range of departments including Linguistics (in the Weinberg College of Arts and Sciences), Communication Sciences & Disorders, and Radio/Television/Film (both in the School of Communication), Electrical Engineering & Computer Science (in the McCormick School of Engineering), Music Theory & Cognition (in the Bienen School of Music), and Otolaryngology (in the Feinberg School of Medicine). In addition, The Knowles Hearing Center involves researchers and labs across the university dedicated to the prevention, diagnosis and treatment of hearing disorders. Acoustics research topics across the university include speech perception and production across the lifespan and across languages, dialects and socio-indexical properties of speech; sound art and design; social and cultural history of the sonic world; machine processing of music; musical communication; auditory perceptual learning; auditory aspects of conditions such as concussion, HIV, and autism; neurophysiology of hearing; and the cellular, molecular, and genetic bases of hearing function. We invite you to visit our poster to learn more about the “sonic boom” at Northwestern University!
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Dahlstedt, Palle, and Mats G. Nordahl. "Living Melodies: Coevolution of Sonic Communication." Leonardo 34, no. 3 (June 2001): 243–48. http://dx.doi.org/10.1162/002409401750287010.

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The authors have constructed an artificial world of coevolving communicating agents. The behavior of the agents is described in terms of a simple genetic programming framework, which allows the evolution of foraging behavior and movement in order to reproduce, as well as sonic communication. The sound of the entire world is used as musical raw material for the work. Musically interesting and useful structures are found to emerge.
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Santoro, Alyce. "Sonic Sails (The Tell-Tail Thangkas)." Leonardo 42, no. 5 (October 2009): 392. http://dx.doi.org/10.1162/leon.2009.42.5.392.

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Lein, Julie Gonnering, Nina McCurdy, and Amanda Hurtado. "Deep in Poetry: Visualizing Texts’ Sonic Depths in 3D." Leonardo 51, no. 1 (February 2018): 80–82. http://dx.doi.org/10.1162/leon_a_01415.

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Poemage is a visualization system designed to support close reading of poems via revelation and exploration of their complex sonic structures. The authors improvised adaptations of this software into 3D interactive environments, experimenting with several ways to visualize “sonic depth” in poetic texts. Not only did this process lead to intensified cross-modal literary experiences, it challenged the authors’ thinking about commonly held values pertaining to poetry, text analysis and information visualization, prompting them to experiment with new practices in each field.
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Schoffer, Nicolas. "Sonic and Visual Structures: Theory and Experiment." Leonardo 18, no. 2 (1985): 59. http://dx.doi.org/10.2307/1577872.

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Dissertations / Theses on the topic "Sonic Arts and Engineering"

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Florkowski, Ronald W. "Evaluation of Unknown Foundations." Scholar Commons, 2007. http://scholarcommons.usf.edu/etd/3812.

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In recent years, bridge foundations have been in the spotlight throughout the nation. Bridges built over running water are susceptible to erosion or scour around their foundations. The reduction in load capacity to piers and abutments pose a safety risk to highway motorists. It has become necessary for engineers to examine and monitor these "scour critical" bridges. The difficulty arises with subsurface foundations of which very little is known about their construction. Hence, the methods applied to analyzing "Unknown Foundations" have become a necessary topic of research. This thesis explores a method to determine foundation lengths. Similar to Sonic Echo / Impulse Response, this procedure measures reflected shock waves sent through concrete pilings. The technique is non-destructive in nature and is performed near the surface of the foundation. The test is performed on the side of the exposed piling. Current methods are limited by the fact that the tops of most pilings are inaccessible due to pilecaps or beams. Often times, pilings are embedded in stiff soils, which have a dampening effect on the stress waves. This thesis employs a method of analysis that will overcome such limitations and provide engineers with another tool to determine subsurface foundation lengths.
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Parkes, Bethan Rachel. "Sonic arts portfolio and commentary." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7798/.

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This research investigates the process of “opening out” spaces with sound as an approach to sonic arts practice, investigating the spaces that sounds articulate, reveal and imply in our encounter with them. It positions spatial aesthetics as a key consideration at each stage of the creative process and connects approaches to spatiality in sonic arts practices with contextual considerations drawn from, for example, phenomenological accounts of spatial and sonic experience, human geography, architecture and acoustic ecology. The portfolio consists of seven sonic artworks and two collaborative projects that each engage with these ideas from a different perspective, exploring a number of applications, contexts and outcomes in the investigation. This accompanying commentary discusses these works, providing an introduction to the portfolio followed by a discussion, in the subsequent chapters, of the practices explored and developed in the research process.
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Tice, Brian (Brian Joseph). "Sonic Artifacts." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/112554.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 72-74).
A Sonic Artifact is a physical object that represents and contains a musical album and allows for real time interaction with the listener. We restore the association of music with the physical artifact of its delivery, a design of the music merchandise of the future, now with the ability to interact with the music in real time. Rather than the audio experience being delivered as a file via a centralized music streaming platform or other method, the music will reside in an active environment associated with the artist. The musical experience has the potential to be unique upon each listen and the total composition and is dependent on the actions of the listener. If the listener chooses, they get to be a part of the composition.
by Brian Tice.
S.M.
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Boland, Carl. "A sonic arts approach to sound design practice." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/a-sonic-arts-approach-to-sound-design-practice(27b39541-a56e-4b59-9b75-290d625c0064).html.

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This practice-as-research study documents the development of a sonic arts approach to film sound design. An interdisciplinary conceptual framework that combines selected theories of electroacoustic music and apposite perspectives from film soundtrack studies informs the approach. Over the course of the research, a broadening practical knowledge of theoretical applications influenced the development of the sound design approach and its conceptual framework. The term 'sonic arts' characterises the compositional tenets of the sound design approach, which takes the form of an inter-modal strategy based on the interdependence of two compositional modes. The intersonic compositional mode corresponds to sound-object design and to the forming of meaningful structural relationships between soundtrack elements. The audiovisual compositional mode corresponds to forming meaningful relationships between soundtrack elements and film images. The overall approach also reflects Walter Murch's concept of sound design as a multifaceted practice endeavour, which includes taking creative responsibility for the soundtrack in post-production (Murch 1995). The presentation of research in this thesis comprises two distinct parts. The first part outlines the sonic arts approach, defines the theoretical basis of its conceptual framework, and identifies potential practice applications. The second part presents three case studies of sound design practice for independent film projects. The case studies document applications of the conceptual framework and critically reflect on acquired practical knowledge of the sonic arts approach. The study concludes that the electroacoustic music theories of spectromorphology and indicative fields (Smalley 1986; 1992; 1997) have useful applications in sound design practice as a perception-based system of analysis. The research also illustrates that sonic landscape theory (Wishart 1986; 1996) constitutes a creatively enabling conceptual framework for sound design when it is applied to the inter-modal compositional strategy.
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Brumpton, Anthony. "Aural scenography: Towards an environmentally aware sonic arts praxis." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127867/1/Anthony_Brumpton_Thesis.pdf.

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The study identifies a distinct lack of environmental consideration within the fields of Theatrical Sound Design practice, necessitating re-direction of those practices towards enhanced 'environmental awareness'. Through applying principles abstracted from Permaculture, an ecologically and ethically aware form of agricultural design, a series of principles for a new praxis of Aural Scenography is developed, that has application for theatrical sound design practitioners similarly wishing to re-direct their own practices.
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.

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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Komeyli-Birjandi, Farhad. "Sonic investigation of masonry structures." Thesis, University of Edinburgh, 1986. http://hdl.handle.net/1842/11005.

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Bergmeier, Gene Georg 1972. "Sonic booms from unsteady sources." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/291664.

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The acoustical signatures as observed by an auditor on the ground are explored for various radiating bodies. Specifically, a theory that describes the origin of sonic booms of two unsteady point sources and of an airplane is developed. In 1968, Garrick and Maglieri conducted an experiment where a General Dynamics F-106 was subjected to sinusoidal pitch oscillations. At the time, the results of the observed sonic boom were not understood; they had expected a distorted sonic boom. The theory presented in the present study offers an explanation of the results. An essential point needed in order to understand their observations is the source distribution for an acoustically radiating body. This source distribution occupies a region of space many times the length of the airplane. Therefore, any attempts to distort a sonic boom must deal with the grand scale of the source distribution.
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Patrício, Eduardo Luis Brito. "Spatial referentiality and openness : a portfolio of environmental sound compositions." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709694.

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Through a creative portfolio and an analytical and critical commentary, this research investigates the use of spatial references in the composition of semi-open environmental sound works. The portfolio explores a number of strategies to make use of spatial references as formal compositional components to enable more intuitive performance/reading experiences. The pieces present a number of electronically mediated scenarios in varied formats; concert, installation and mobile application. Counting on the intuitive way one tries to constantly identify surrounding spaces, each piece uses physical (performance/presentation spaces) and representational devices (illustrations, maps, video projections, spatialised sound etc.) to articulate and delimitate semi-open artistic experiences. Such ambiguous scenarios are enabled by both the unpredictability of elements of each work and the dependence on the subjective interpretations of the agents involved in the process. The creative processes presented here in a descriptive, analytical and critical manner attempt to make an artistic contribution and provide documental material for future reflection about related practices.
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Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.

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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community. I frame my research participants' responses with a discussion of the different degrees to which composers try to control the eventual meaning made from their compositions and the different ways that they try to identify with their audiences. While some composers express a desire to control audiences' emotions and experiences through the use of forms and careful predictions about an audience's reactions to certain genres and influences, other composers express a comfort with audiences composing their own meanings from musical sounds, perhaps eschewing or transforming traditional forms and traditional performance practices. Throughout, I argue for the importance of considering all of these perspectives in the context of actually hearing music, as opposed to taming and solidifying it into a score on a page. These composers' insights suggest the importance of understanding musical rhetoric as an act based in sound and time that guides meaning but can never control it. They also suggest new ways of teaching English composition courses that are inspired by the experiences and practices of music composition students. Specifically, I argue that English composition courses should better rely on the self-sponsored literacies that students bring to classrooms, stretch the ways these courses approach traditional rules of composing, and approach digital tools, collaboration, and delivery in ways that mirror the experiences of music students.
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Books on the topic "Sonic Arts and Engineering"

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Ryan, McGinness, ed. Sonic order of happiness. New York: R77, 2005.

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Woolman, Matt. Sonic graphics: Seeing sound. London: Thames & Hudson, 2000.

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D, Greene Paul, and Porcello Thomas, eds. Wired for sound: Engineering and technologies in sonic cultures. Middletown, Conn: Wesleyan University Press, 2005.

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Burghardt, M. David. Engineering thermodynamics. 4th ed. Centreville, MD: Cornell Maritime Press, 1999.

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A, Harbach James, and Burghardt M. David, eds. Engineering thermodynamics. 4th ed. New York: HarperCollins College, 1993.

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Bijsterveld, Karin. Sonic Skills: Listening for Knowledge in Science, Medicine and Engineering. London: Springer Nature, 2019.

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Mei, C. Nonlinear analyses of composite aerospace structures in sonic fatigue. Norfolk, Va: Dept. of Mechanical Engineering & Mechanics, College of Engineering & Technology, Old Dominion University, 1992.

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Look, Dwight C. Engineering thermodynamics. Boston: PWS Engineering, 1986.

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A view on structural engineering via engineering science, mathematics, philosophy, and arts. Pittsburgh, Pennsylvania: Dorrance Publishing Co., 2016.

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Concurrent Engineering 1995 Conference (McLean, Virginia). CE95: Concurrent engineering : a global perspective. Edited by Paul Anand J, Sobolewski Michael, and Concurrent Technologies Corporation. Johnstown, Pa: Concurrent Technologies Corporation, 1995.

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Book chapters on the topic "Sonic Arts and Engineering"

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Tse, Natalie Alexandra. "Creating a Sonic Experience for Babies." In Visions of Sustainability for Arts Education, 169–74. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-6174-7_16.

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Dyck, John. "The Sonic Art of Film and the Sonic Arts in Film." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 801–21. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_34.

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O Keeffe, Linda, and Isabel Nogueira. "Applying Feminist Methodologies in the Sonic Arts." In The Body in Sound, Music and Performance, 166–78. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003008217-16.

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O Keeffe, Linda, and Isabel Nogueira. "Applying Feminist Methodologies in the Sonic Arts." In The Body in Sound, Music and Performance, 166–78. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003008217-16.

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Walker, Ronald J. "Sonic Standing Wave Gas Density Monitor." In A Cryogenic Engineering Conference Publication, 1081–87. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4613-9874-5_130.

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Wu, Jiayue Cecilia. "Experiencing Embodied Sonic Meditation Through Body, Voice, and Multimedia Arts." In Sounds from Within: Phenomenology and Practice, 171–95. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72507-5_8.

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Herath, Damith, and Christian Kroos. "Engineering the Arts." In Robots and Art, 3–17. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0321-9_1.

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Gulia, Preeti, and Arpan Gupta. "Multi-directional Sound Reduction by Slitted Sonic Crystal." In Advances in Mechanical Engineering, 1099–108. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0124-1_97.

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Manevitch, Leonid I., Agnessa Kovaleva, Valeri Smirnov, and Yuli Starosvetsky. "Two-Particle Systems Under Conditions of Sonic Vacuum." In Foundations of Engineering Mechanics, 27–66. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4666-7_2.

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Koshland, Catherine P. "Liberal Arts and Engineering." In Holistic Engineering Education, 53–67. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-1393-7_5.

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Conference papers on the topic "Sonic Arts and Engineering"

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Duran, Bhakti, Jinsil Hwaryoung Seo, Brian A. Smith, and Echo Zhao. "Sonic City." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.21.

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Tang, Rennie, Eleni-Ira Panourgia, and Lisa Sandlos. "Sonic Kinesthetic Forest: Listening to and Dancing With Trees." In – The European Conference on Arts, Design and Education 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2758-0989.2022.17.

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Tsiros, Augoustinos. "Sonic Xplorer: A Machine Learning Approach for Parametric Exploration of Sound." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.34.

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Mlakar, Sara, Thomas Preindl, Andreas Pointner, Mira Alida Haberfellner, Rainer Danner, Roland Aigner, and Michael Haller. "The Sound of Textile: An Interactive Tactile-Sonic Installation." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483742.

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Weinel, Jonathan. "Visual patterns of hallucination as a basis for sonic arts composition." In the 8th Audio Mostly Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2544114.2544125.

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Sparrow, Victor W. "Overview of Sonic Boom Noise." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-55346.

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This paper provides an overview of sonic boom noise for nonspecialists. A brief description is provided and a source/path/receiver model is emphasized. Significant research has been undertaken in the last few years to develop commercial aircraft (sources) that have sonic booms that are less loud than previous designs, opening the possibility for overland supersonic flight. This work is continuing. However, there are several challenges remaining regarding the propagation (path) of sonic boom noise through the real atmosphere and in the human perception (receiver) of minimized sonic boom waveforms.
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Romero-Garci´a, V., E. Fuster-Garcia, L. M. Garci´a-Raffi, and J. V. Sa´nchez-Pe´rez. "Acoustic Barriers Based on Sonic Crystals." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-34766.

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Environmental noise problems become an standard topic across the years. Acoustic barriers have been purposed as a possible solution because they can act creating an acoustic attenuation zone which depends on the sound frequency, reducing the sound transmission through it. It was demonstrated that at high sound frequencies the effect of the barriers is more pronounced than at low frequencies, due to the diffraction in their edges. Sonic Crystals (SCs) are periodic arrays of scatterers embedded in a host material with strong modulation of its physical properties, that produces band gaps attenuation in frequencies related with their geometry. These frequencies are explained by the well known Bragg’s diffraction inside the crystal. SCs present different high symmetry directions, where the Bragg’s peaks appears in different frequencies ranges due to the variation of the geometry in each direction. Recently, some authors have studied the possibility to use SCs to reduce noise in free-field condition. Also, it was showed that SCs built by trees are acoustic systems that present acoustic band gaps in low frequency range due to the geometric distribution of the trees. These results led us think that these structures are a suitable device to reduce noise, this means SCs could be use as acoustic barriers. Nevertheless the technological application of these devices for controlling the noise present some problems. First, the angular dependence of the frequencies attenuated when the sound impinges over the SC. Second, the fact that the necessary space to put the SC is bigger than in the case of the traditional acoustic barriers. Finally, the necessity of some robust and long-lasting materials to use them outdoors. In this paper we show the possibility to use different materials (rigid, mixed or soft) to make scatterers, explaining their advantages or disadvantages. These materials in conjunction with some optimization methods will allow us find some solutions to the problems mentioned above. We will relate both acoustic systems, acoustic barriers and SCs, making a comparison of the main properties of each one and then, we will present the technological possibilities to design acoustic barriers based on SCs.
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Bossert, R. J. "Sonic Helium Detectors in the Fermilab Tevatron." In ADVANCES IN CRYOGENIC ENGINEERING: Transactions of the Cryogenic Engineering Conference - CEC. AIP, 2006. http://dx.doi.org/10.1063/1.2202412.

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Li, Mengxing, Evgeniy Torgashov, Aleksandra Varnavina, Akeksey Khamzin, Brandon Goodwin, Lesley Sneed, and Neil Anderson. "ULTRA-SONIC SURFACE WAVE INVESTIGATIONS." In Symposium on the Application of Geophysics to Engineering and Environmental Problems 2013. Environment and Engineering Geophysical Society, 2013. http://dx.doi.org/10.4133/sageep2013-086.1.

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Anderson, William, Joseph Bland, and Kevin Horner-Richardson. "Sonic cesium supply for bi-modal thermionic reactors." In Intersociety Energy Conversion Engineering Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1994. http://dx.doi.org/10.2514/6.1994-4056.

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Reports on the topic "Sonic Arts and Engineering"

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Osypova, Nataliia V., and Volodimir I. Tatochenko. Improving the learning environment for future mathematics teachers with the use application of the dynamic mathematics system GeoGebra AR. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4628.

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Abstract:
Immersive technologies and, in particular, augmented reality (AR) are rapidly changing the sphere of education, especially in the field of science, technology, engineering, arts and mathematics. High- quality professional training of a future mathematics teacher who is able to meet the challenges that permeate all sides, the realities of the globalizing information society, presupposes reliance on a highly effective learning environment. The purpose of the research is to transform the traditional educational environment for training future mathematics teachers with the use of the GeoGebra AR dynamic mathematics system, the introduction of cloud technologies into the educational process. The educational potential of GeoGebra AR in the system of professional training of future mathematics teachers is analyzed in the paper. Effective and practical tools for teaching mathematics based on GeoGebra AR using interactive models and videos for mixed and distance learning of students are provided. The advantages of the GeoGebra AR dynamic mathematics system are highlighted. The use of new technologies for the creation of didactic innovative resources that improve the process of teaching and learning mathematics is presented on the example of an educational and methodological task, the purpose of which is to create didactic material on the topic “Sections of polyhedra”. While solving it, future teachers of mathematics should develop the following constituent elements: video materials; test tasks for self-control; dynamic models of sections of polyhedra; video instructions for constructing sections of polyhedra and for solving basic problems in the GeoGebra AR system. The article highlights the main characteristics of the proposed educational environment for training future mathematics teachers using the GeoGebra AR dynamic mathematics system: interdisciplinarity, polyprofessionalism, dynamism, multicomponent.
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