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Journal articles on the topic 'Sonic Arts and Engineering'

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

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1

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

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2

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

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Harris, Yolande. "Scorescapes: On Sound, Environment and Sonic Consciousness." Leonardo 48, no. 2 (April 2015): 117–22. http://dx.doi.org/10.1162/leon_a_00863.

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The author discusses Scorescapes, an artistic research project that investigates how sound mediates our relationship to the environment and how contemporary multidisciplinary art practices can articulate this. Scorescapes joins the author’s own artistic practice with a theoretical analysis that highlights how relationships to the environment drawn through sound are profoundly bound up with technology. Key concepts include: making the inaudible audible; underwater sound and cetacean communication; field recordings and the contextual basis of sound; typologies of listening; the score as relationship; and techno-intuition.
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12

Wolfe, Jocelyn, Vanessa Tomlinson, and Karin Schaupp. "The Immersive Guitar Project: Imagining Possibilities for Enriching Audience Experience through Architectural Innovation." Leonardo 54, no. 4 (2021): 446–47. http://dx.doi.org/10.1162/leon_a_02078.

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Abstract This article introduces The Immersive Guitar (TIG) Project, a proposed sonic performance installation that doubles as an intimate acoustic venue. The TIG Project responds to several needs, highlighting relations between place and performance, music and architecture. The needs concern a rarity of suitable, intimate spaces for acoustic performance and an appeal for more creative solutions in the provision of such spaces, which would afford novel ways of accessing performing arts experiences. This article introduces the proposition and provides project background and rationale.
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13

Robinson, Camille. "Listening Art: Making Sonic Artworks That Critique Listening." Leonardo 50, no. 5 (October 2017): 536. http://dx.doi.org/10.1162/leon_a_01499.

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14

Gauthier, Philippe-Aubert, and Philippe Pasquier. "Auditory Tactics: A Sound Installation in Public Space Using Beamforming Technology." Leonardo 43, no. 5 (October 2010): 426–33. http://dx.doi.org/10.1162/leon_a_00034.

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The term “auditory tactics” refers to the contextual listening attitudes and competencies adapted to various private and public auditory contexts, spheres and aural architectures. Auditory Tactics, created for the Pure-Data Convention 2007 in Montréal, is a spatial sound installation designed to interfere and play with the auditory tactics of passersby in a public space by projecting sounds from more private spheres. The novelty of the authors' work is the use of beamforming: a sound projection technology that allows the creation of directional sonic beams resulting in sonic illumination and shadow zones that dynamically interact with architectural surfaces. The authors report the results and lessons of this first artistic experiment with sound beams as a creative sound-projection method.
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15

Schülke, Bettina, Nina Czegledy, Veroniki Korakidou, and Dave Lawrence. "Aureole." Leonardo 43, no. 5 (October 2010): 498–99. http://dx.doi.org/10.1162/leon_a_00051.

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The Aureole installation created as part of the e-MobiLArt project combines physicality, technology, visual, sonic and textual components — and aims to evoke a poetic experience inspired by the Aurora Borealis.
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16

Harle, Rob. "Sonic Time Machines: Explicit Sound, Sirenic Voices, and Implicit Sonicity." Leonardo 50, no. 2 (April 2017): 221–22. http://dx.doi.org/10.1162/leon_r_01396.

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17

Domnitch, Evelina, and Dmitry Gelfand. "Camera Lucida: A Three-Dimensional Sonochemical Observatory." Leonardo 37, no. 5 (October 2004): 391–96. http://dx.doi.org/10.1162/0024094041955962.

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Camera Lucida is an interactive “sonic observatory” that directly converts sound waves into light by employing a phenomenon called sonoluminescence. The project was conceived both as an artwork and as a musical instrument that allows its player to see and shape sounds while moving through space.
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18

Ergenzinger, Kerstin. "Nubis et Nuclei: A Study on Noise and Precision." Leonardo 52, no. 1 (February 2019): 70. http://dx.doi.org/10.1162/leon_a_01467.

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This study sets out to explore the perception of noise, as well as the relation toward meaning or information that it might contain, in arts, science and daily life. It is realized as an installation based on a suspended cloud of nitinol drums that create a sonic environment evolving in time and space. Digital random noise drives the instruments. Roaming freely and listening, visitors become part of an ecology of noise. As visitors explore differing regions in time and space, what appears to be noise can shift to a “meaningful” signal. This process of discovering a clear signal in a noisy background holds strong analogies to the scientific search for a nuclear resonance performed in the nuClock project.
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19

Knouf, Nicholas A. "Noisy Fields: Interference and Equivocality in the Sonic Legacies of Information Theory." Leonardo 48, no. 5 (October 2015): 479. http://dx.doi.org/10.1162/leon_a_01110.

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20

Ploeger, Daniël. "Sonified Freaks and Sounding Prostheses: Sonic Representation of Bodies in Performance Art." Leonardo 48, no. 5 (October 2015): 480. http://dx.doi.org/10.1162/leon_a_01113.

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21

McCormick, John, Mohammed Hossny, Michael Fielding, James Mullins, Jordan Beth Vincent, Mostafa Hossny, Kim Vincs, et al. "Feels Like Dancing: Motion Capture-Driven Haptic Interface as an Added Sensory Experience for Dance Viewing." Leonardo 53, no. 1 (February 2020): 45–49. http://dx.doi.org/10.1162/leon_a_01689.

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This paper describes a system for delivering movement information from a dance performance using a multisensory approach that includes visual, sonic and haptic information. The work builds on previous research into interpreting dance as haptic information for blind, deaf-blind and vision-impaired audience members. This current work is aimed at a general audience, with haptic information being one of a number of sensory experiences of the dance. A prototype haptic device has been developed for use in dance performance research.
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22

Adderley, W. Paul, and Michael Young. "Ground-breaking: Scientific and Sonic Perceptions of Environmental Change in the African Sahel." Leonardo 42, no. 5 (October 2009): 404–11. http://dx.doi.org/10.1162/leon.2009.42.5.404.

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Soils surrounding ancient settlements can hold evidence of the activities of past societies. To seek an understanding of how past societies have reacted and contributed to environmental change requires many data sources. The real-time audiovisual installation Ground-breaking problematizes the presentation of such data, gained in this case through the image-analysis of soil materials. These data are used to connote environmental events and consequent human responses. By combining these data with audiovisual synthesis and environmental recordings, the authors present a basis for developing conceptualizations of new locales undergoing environmental change; the visual and sonic narratives that are developed allow the art-science interface to be explored.
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23

Chadabe, Joel. "Music and Life." Leonardo 35, no. 5 (October 2002): 559–65. http://dx.doi.org/10.1162/002409402320774376.

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Music is increasingly reflecting the world around us, combining the rhythms, activities, and experiences of everyday life through electronic technology. A new integration of music and life has emerged utilizing sonic materials such as sounds and words, that establish dynamic interactive processes with the public. This essay examines relevant histories in order to identify when and how this union originated. From Pierre Schaeffer to Paul Miller (a.k.a. DJ Spooky), the author writes a history, chronologically mapping the numerous musical projects that help support and define this music and life concept.
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24

Fishenden, Jerry. "Sounds of Time and Place." Leonardo 50, no. 1 (February 2017): 12–19. http://dx.doi.org/10.1162/leon_a_01362.

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The author describes various aural techniques developed as part of the origination of the sonic content of compositions themed on palimpsests of time and place. Field-based recordings, authentic and synthetic impulse responses, convolution reverb and the use of third-party sounds retrieved via open programmatic interfaces are considered. The role of usability feedback is also discussed, specifically its beneficial impact on informing the development both of the compositions and the techniques they utilize. An initial mobile phone application is described, together with continuing work to develop additional mobile experiences.
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25

Leudar, Augustine. "Surrounded: A Series of Sound Installations That Combine Plant Electrophysiology and 3D Sonic Art." Leonardo 51, no. 5 (October 2018): 517–23. http://dx.doi.org/10.1162/leon_a_01338.

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This paper discusses a series of sound installations that combine plant electrophysiology with 3D sonic art. A brief introduction to plant electrophysiology is given. The sonification of electrophysiological signals in the mycorrhizal network is discussed, explaining how art and science are combined in this project in a way that differs from the simple sonification of data. Novel 3D audio spatialization techniques, the 3D audio mapping of natural environments and immersion are also discussed, along with technical details of how to read the electrical signals in plants known as action potentials. Other topics addressed include acoustic signaling in the forest, spectral composition and interaction with forest flora and fauna.
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26

Peña, Ernesto, and Kedrick James. "Raw Harmonies: Transmediation through Raw Data." Leonardo 53, no. 2 (April 2020): 183–88. http://dx.doi.org/10.1162/leon_a_01635.

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In this paper, the authors present the initial findings from explorations on transformation patterns of data in raw format when crossing or transmediating directly (i.e. unaffected by any other form of codification) between audio and visual media. These patterns have allowed the authors to engage in the production of transmediatic artifacts with some degree of control and agency, facilitating purposeful applications of transmediation. The products of such practices will enable a form of literacy, an aesthetic means to identify in visual media artifacts those patterns that could transmediate into useful or appealing sonic artifacts and vice versa.
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27

Scipio, Agostino Di. "Iterated Nonlinear Functions as a Sound-Generating Engine." Leonardo 34, no. 3 (June 2001): 249–54. http://dx.doi.org/10.1162/002409401750287029.

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This article describes a method of digital sound synthesis and algorithmic composition based on iterated nonlinear functions. The mathematical framework of Functional Iteration Synthesis (FIS) is outlined, and the dynamics of a specific FIS model are explained. Given the model's peculiarly chaotic system dynamics, an empirical, exploratory attitude is needed in order to achieve compositionally relevant controls. The required method of this exploration is interactive computer music systems. Some examples are discussed bearing on the author's compositional experience with his Sound & Fury project. The approach is described in terms of real-time interaction with a source of chaotic but structured flow of sonic information. The relevance of an “ecological” view of composing is emphasized.
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28

Gingrich, Oliver, Alain Renaud, Eugenia Emets, and Zhidong Xiao. "Transmission: A Telepresence Interface for Neural and Kinetic Interaction." Leonardo 47, no. 4 (August 2014): 375–85. http://dx.doi.org/10.1162/leon_a_00843.

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Transmission is both a telepresence performance and a research project. As a real-time visualization tool, Transmission creates alternate representations of neural activity through sound and vision, investigating the effect of interaction on human consciousness. As a sonification project, it creates an immersive experience for two users: a soundscape created by the human mind and the influence of kinetic interaction. An electroencephalographic (EEG) headset interprets a user’s neural activity. An Open Sound Control (OSC) script then translates this data into a real-time particle stream and sound environment at one end. A second user in a remote location modifies this stream in real time through body movement. Together they become a telematic musical interface-communicating through visual and sonic representation of their interactions.
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29

Gulizada, Sona Famil. "Application of sonic tomography to study the state of some species of Pinus and Gleditsia in the conditions of Absheron." HORTUS BOTANICUS 16, no. 16 (January 2021): 209–18. http://dx.doi.org/10.15393/j4.art.2021.7785.

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30

Barber, John F. "Sonic Mediations: Body Sound Technology edited by Carolyn Birdsall and Anthony Enns. Cambridge Scholars Publishing, Newcastle upon Tyne, U.K., 2008. 286 pp., illus. Trade. ISBN: 1-84718-483-9." Leonardo 43, no. 3 (June 2010): 295–96. http://dx.doi.org/10.1162/leon.2010.43.3.295.

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31

Van Ryssen, Stefaan. "Wired for Sound: Engineering and Technologies in Sonic Cultures edited by Paul D. Greene and Thomas Porcello. Wesleyan University Press, Middletown, CT, U.S.A., 2005. 304 pp., illus. Trade, paper. ISBN: 0-8195-6516-4; ISBN: 0-8195-6517-2." Leonardo 40, no. 2 (April 2007): 204. http://dx.doi.org/10.1162/leon.2007.40.2.204a.

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32

Barber, John F. "High Static, Dead Lines: Sonic Spectres and the Object Hereafter by Kristen Gallerneaux. Strange Attractor Press, London, U.K., 2018; distributed by MIT Press, 264 pp., illus. Trade. ISBN: 978-1907222665." Leonardo 52, no. 5 (October 2019): 510–11. http://dx.doi.org/10.1162/leon_r_01815.

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33

Kapsali, Maria. "Sonic Bodies." Performance Research 25, no. 4 (May 18, 2020): 45–53. http://dx.doi.org/10.1080/13528165.2020.1842029.

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34

Kang, Sunha. "A Comparative Analysis Study on Gukak Concerto Composed by the Composers Who Majored in Western Music: Focusing on the Expression of Gukak Identity." Korean Society of Culture and Convergence 44, no. 8 (August 31, 2022): 607–24. http://dx.doi.org/10.33645/cnc.2022.8.44.8.607.

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In this study, three works were selected with a focus on the genre of concerto, in which the characteristics of Korean traditional instruments and the Gukak identity can be sharply demonstrated, and the composition techniques used in each work were analyzed, and investigated how to express the Gukak identity. Jukjeong Concero for solo Daegeum and 100- piece Daegeum orchestra composed by Kang Eun-gu is a work that captures the atmosphere of a bamboo forest in a traditional music. Jukjeong Concero is a work rich in Western traditional composition techniques and elements of Gukak rather than Western modern composition techniques. Haegeum Concerto Maru composed by Seo Hong-jun is a work of a modern expression on the movement of the stars in the night sky. Concerto Maru made use of the sonic specificity through the Western modern music composition method, while the elements of Gukak were not prominent. Geomungo Concerto Rebirth composed by Thomas Osborne is a work that expresses the wonder of volcanic activity, and reflects the traditional tone and playing method of the Geomungo well and harmonizes with modern music techniques.
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35

Woods, Seth Parker, and Michael Maizels. "Sonic Ecologies." PAJ: A Journal of Performance and Art 44, no. 2 (May 1, 2022): 71–80. http://dx.doi.org/10.1162/pajj_a_00611.

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36

Bodine, Albert G. "Sonic impeller for sonic well pump." Journal of the Acoustical Society of America 85, no. 2 (February 1989): 978. http://dx.doi.org/10.1121/1.397536.

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37

Shenk, Edwin K. "Sonic autofocus camera having variable sonic beamwidth." Journal of the Acoustical Society of America 78, no. 2 (August 1985): 824. http://dx.doi.org/10.1121/1.393046.

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38

Lewis, Ralph. "Missouri Experimental Sonic Arts Festival (MOXsonic)." Computer Music Journal 44, no. 1 (2020): 89–91. http://dx.doi.org/10.1162/comj_r_00556.

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39

Worrall, David. "Editorial: Computation in the Sonic Arts." Organised Sound 25, no. 1 (March 4, 2020): 1–3. http://dx.doi.org/10.1017/s1355771819000402.

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40

S., Kaushik,, and Gokhale, N. "Online Sensory Marketing: Developing Five-Dimensional Multi-Sensory Brand Experiences and its Effectiveness." CARDIOMETRY, no. 24 (November 30, 2022): 567–76. http://dx.doi.org/10.18137/cardiometry.2022.24.567576.

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The online environment has long been a sensory interaction between a brand or product and its consumers through visual imagery and sonic elements. While newer technologies have developed that cater to a customer’s more psychological need for haptics (touch), gestation, and olfaction, brands have not explored its true potential. Immersions and other forms of Human-Computer interaction have vastly developed and present scope for more than just a single sense for online consumers. While brands are employing these multisensory interfaces (vs. single-sensory) in certain product categories, it remains to be seen whether customers who unknowingly experience sensations online want to adapt to it. Several product categories could find multisensory elements beneficial. This study aims to delve deeper and understand the motivations of such behavior and identify the need for a customer to engage all its senses beyond the traditional visuals and sound while interacting with brands virtually for a more holistic experience. While external environmental factors such as pandemics have resulted in the inevitable loss of physical touchpoints, the aim is to determine whether sensory elements beyond images and sounds will benefit customer engagement.
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41

Nyberg, C. A., J. G. Jackson, and J. Brdicko. "Sonic generator." Journal of the Acoustical Society of America 89, no. 6 (June 1991): 3031. http://dx.doi.org/10.1121/1.400691.

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42

Nyberg, Christopher A., James G. Jackson, and Jan Brdicko. "Sonic generator." Journal of the Acoustical Society of America 90, no. 6 (December 1991): 3384. http://dx.doi.org/10.1121/1.401412.

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43

Zacharias, Ellis M. "Sonic transducer." Journal of the Acoustical Society of America 85, no. 2 (February 1989): 980. http://dx.doi.org/10.1121/1.397548.

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44

Riedlinger, Rainer. "Sonic transmitters." Journal of the Acoustical Society of America 82, no. 4 (October 1987): 1477. http://dx.doi.org/10.1121/1.395186.

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45

Bodine, Albert G., and James N. Gregory. "Sonic cementing." Journal of the Acoustical Society of America 82, no. 4 (October 1987): 1472. http://dx.doi.org/10.1121/1.395210.

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46

Sparrow, Victor. "Sonic booms and sonic thumps for non-specialists." Journal of the Acoustical Society of America 145, no. 3 (March 2019): 1714. http://dx.doi.org/10.1121/1.5101286.

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47

Phelan, Peggy. "Carolee Schneemann's Sonic Shadow." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 135–43. http://dx.doi.org/10.1215/02705346-9052858.

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Abstract This commemorative essay considers Carolee Schneemann's voice as expressed through performative utterances and written words, with particular focus on Interior Scroll (1975). The essay argues that the performance's documentation in photographs, the primary means of experiencing the work, has come at the expense of attention to Schneemann's voice. The essay reflects on the work of evoking Schneemann's voice through limited records in relation to the process of grief following the artist's death. Schneemann's “sonic shadow,” the essay argues, emerges through affirmative mourning. The essay was composed originally for the memorial service for Schneemann at Judson Memorial Church, New York, on 3 May 2019.
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48

Goh, Annie, and Marie Thompson. "Sonic Cyberfeminisms: Introduction." Feminist Review 127, no. 1 (March 2021): 1–12. http://dx.doi.org/10.1177/0141778920967624.

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49

Peterson, Ivars. "Sonic Impact." Science News 148, no. 13 (September 23, 1995): 206. http://dx.doi.org/10.2307/3979436.

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50

Wolf, Daniel. "Sonic wave generator." Journal of the Acoustical Society of America 93, no. 6 (June 1993): 3543. http://dx.doi.org/10.1121/1.406833.

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