Relevant bibliographies by topics / Sonic Ecology

Academic literature on the topic 'Sonic Ecology'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Sonic Ecology"

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Larsen, Gretchen. "Musical Works: Denora's Sonic Ecology." Symbolic Interaction 38, no. 4 (October 1, 2015): 638–40. http://dx.doi.org/10.1002/symb.189.

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Knight, Lauren Elizabeth. "‘Creator gave us two ears and one mouth’." Stream: Interdisciplinary Journal of Communication 13, no. 1 (November 5, 2021): 37–50. http://dx.doi.org/10.21810/strm.v13i1.297.

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Acoustic ecology has served as a foundational theoretical field for many sound scholars to understand the soundscape as a signifier for environmental crisis. While sound theorists like R. Murray Schafer and those in the World Soundscape Project have developed ways in which to critically analyze environmental soundscapes, these methods have often excluded Indigenous narratives which offer complex understandings of sound through embodied experience. In this paper I employ a brief description of acoustic ecology, drawing attention to its benefits as a methodological approach to sonic ordering, while also demonstrating the possibilities for expansion of this field when examined in conversation with Canadian Indigenous perspectives and notable sonic activist movements. I address how Indigenous knowledge systems, futurisms, art, and activism can provide critical perspectives within the field of acoustic ecology, which lends well to understanding soundscapes of crisis. I identify a few case studies of sonic forward Indigenous environmental movements which include game design by Elizabeth LaPensée, Rebecca Belmore’s Wave Sound sculpture, and the Round Dance Revolution within the Idle No More movement. In sum, this paper works to bridge the work of acoustic ecology and Indigenous sonic movements to encourage a complex and nuanced relationship to sound, and to explore moments for understanding sonic intersections at the forefront of environmental crisis.
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Chaves, Rui, and Thaís A. Aragão. "Localising Acoustic Ecology: A critique towards a relational collaborative paradigm." Organised Sound 26, no. 2 (August 2021): 190–200. http://dx.doi.org/10.1017/s1355771821000236.

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This article focuses on critically provincialising some of the ethico-political challenges inherent to much of the acoustic ecology vocabulary and conceptual framework. As we will demonstrate, much of the underlying limitations stem from an adherence to a particular self-transformation praxis (from the ‘New Age’ movement) alongside an overtly optimist and culturally selective outlook on how a well-informed acoustic designer would guide individuals and communities to a better sonic world. This epistemological and aesthetic outlook is presented in order to offer an alternative view on how collaborative works that deal with the sonic can take place within communities. One, where rigid hierarchies and orthodoxies are substituted by an intersubjective listening that changes all actors involved in the process. This is the framework from which we present Cildo Meireles’s Sal Sem Carne LP (1975) and Lilian Nakahodo’s sonic cartography Mapa sonoro CWB: Uma cartografia afetiva de Curitiba (2015–).
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Atkinson, Rowland. "Ecology of Sound: The Sonic Order of Urban Space." Urban Studies 44, no. 10 (September 2007): 1905–17. http://dx.doi.org/10.1080/00420980701471901.

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Mulder, Jos. "Sound Resources: Environmental Installation." Leonardo Music Journal 23 (December 2013): 18–19. http://dx.doi.org/10.1162/lmj_a_00145.

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Deluca, Erik. "Selling Nature to Save It: Approaching self-critical environmental sonic art." Organised Sound 23, no. 1 (January 24, 2018): 71–79. http://dx.doi.org/10.1017/s1355771817000292.

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With similarities to the emergence in fifteenth-century landscape paintings, to poems by the Transcendentalists and to the more recent 1960s land art movement, environmental sonic art is always context-based and conjointly performs as environmental activism with aims to break down the nature/culture dualism. Nature, however, is both a material object and a socially constructed metaphor that is infinitely interpretable and ideologically malleable based on one’s values and biases. Does the environmental sonic artist acknowledge this? The theoretical framework of this article extends acoustic ecology, first theorised by R. Murray Schafer, to include environmental history and cultural theory – ultimately problematising definitions of ‘nature’ and ‘natural.’ Through this framework, the author critiques the way composer John Luther Adams represents his environmental sonic art. This analysis will illuminate a dialogue that asks, ‘What is self-critical environmental sonic art?’
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Egan, Mark. "Book Review: Sonic Warfare: Sound, Affect, and the Ecology of Fear." Organization Studies 34, no. 10 (October 2013): 1563–65. http://dx.doi.org/10.1177/0170840613493712.

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van Veen, tobias c. "Sonic Warfare: Sound, Affect, and the Ecology of Fear (Steve Goodman)." Dancecult 2, no. 1 (2011): 102–6. http://dx.doi.org/10.12801/1947-5403.2011.02.01.09.

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Chattopadhyay, Budhaditya. "Sonic Menageries: Composing the sound of place." Organised Sound 17, no. 3 (January 11, 2012): 223–29. http://dx.doi.org/10.1017/s1355771811000422.

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This article investigates the essential association between location and sound, mediated and represented by the process of recording and the subsequent creation of an artwork. The basic argument this article would like to develop is that location-specific sound recording, as practised by artists and phonographers, is basically an exercise in disembodiment of sound from environment, whether it is observational or immersive in approach; if the purpose of this mediation by recording is artistically reconstructive, the location-specificity of the recorded sound is displaced by the further mediation of the creative process. By developing the argument from an experimental angle, in relation to an audio art projectLandscape in Metamorphoses, this article will try to examine how the discourse of acoustic ecology becomes reconfigured in the shift from environmental sound content recorded at location to production of soundscape composition as audio artwork. Today, the application of digital media to artistic practice has become integral – in the case of audio art via creation of auditory art works (for both spatial diffusion and live interaction); this can bring about a reconfiguration of environmental aesthetics. The article will find relevance in redesigning the ecological discourse in the digital realm of ‘soundscaping’ through the practice of mediation, as composing of the sound of location, or ‘place’.
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Rudenko, O. V., and Yu N. Makov. "Sonic Boom: From the Physics of Nonlinear Waves to Acoustic Ecology (a Review)." Acoustical Physics 67, no. 1 (January 2021): 1–25. http://dx.doi.org/10.1134/s1063771021010036.

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Dissertations / Theses on the topic "Sonic Ecology"

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Pontén, Emeli. "Acoustic Design in Urban Development : analysis of urban soundscapes and acoustic ecology research in New York City." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4836.

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The world is urbanizing rapidly with more than half of the global population now living in cities. Improving urban environments for the well-being of the increasing number of urban citizens is becoming one of the most important challenges of the 21st century. Even though it is common that city planners have visions of a ’good urban milieu’, those visions are concerning visual aesthetics or practical matters. The qualitative perspective of sound, such as sonic diversity and acoustic ecology are neglected aspects in architectural design. Urban planners and politicians are therefore largely unaware of the importance of sounds for the intrinsic quality of a place. Whenever environmental acoustics is on the agenda, the topic is noise abatement or noise legislation – a quantitative attenuation of sounds. Some architects may involve acoustical aspects in their work but sound design or acoustic design has yet to develop to a distinct discipline and be incorporated in urban planning.My aim was to investigate to what extent the urban soundscape is likely to improve if modern architectural techniques merge with principles of acoustics. This is an important, yet unexplored, research area. My study explores and analyses the acoustical aspects in urban development and includes interviews with practitioners in the field of urban acoustics, situated in New York City. My conclusion is that to achieve a better understanding of the human living conditions in mega-cities, there is a need to include sonic components into the holistic sense of urban development.
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Harnetty, Brian P. "Performing Sonic Archives: Listening to Berea, Sun Ra, and the Little Cities of Black Diamonds." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417170787.

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Carvalho, Sara Boal Robalo Rosado de. "Sonic ecologies : a journey through music, space and sensations in jazz live performances." Master's thesis, 2021. http://hdl.handle.net/10400.14/37019.

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Music has become a dominant and popularised form of culture in the modern world, produced and reproduced by the masses. It seems that the idea of continuous separation of the ‘human’ with the ‘nonhuman’ created a deep gap regarding the conceptualization of organic and harmonious practices for sustainable development of the world’s economic, cultural and social spheres. With this individualistic perspective, the idea of community and the connection between the outside world and humans have fallen into oblivion. Music culture and the music industries, powered by a massive technological and globalised process, have allowed an international travelling of sound with traits and characteristics of different cultures, rituals and ways of making music. Music is a way of connecting with the world. Specifically, the jazz musical genre approaches change in musical and performative practices while preserving its connection to its roots, tradition and rituals. It distinguishes itself from other musical genres through its instrumental characteristics, musical dialogues, and intrinsic traits that refer to its history and sociocultural influence. Aiming to reconcile the environment and civilisation, together with the intersection of the nonhuman and human world, the physical and the cultural spheres all mediated by sound composition, this dissertation explores the musical genre of jazz and its live performances in a given surrounding. Following an extensive literature review, this work delves into the fundamental aspects of sound, music, audience, performance and performativity. It travels through sensations and relationships integrated into the ecological performative system. To question the way the spirit and sensation of a place, through an ecological approach affects the performance of a cultural product such as live jazz, and how this influences the performance/performers and audiences, the work approaches three main blocks: the social cooperation in music and its instrumental relationship, the intersection between actor and audience and the embeddedness of the performance in a specific environment.
No mundo moderno, a música tem vindo a tornar-se numa forma de cultura dominante e popularizada, produzida e reproduzida pelas massas. Parecer que a ideia de uma separação contínua do humano em relação ao ‘não-humano’ criou um espaçamento profundo relativamente à conceptualização de práticas orgânicas e harmoniosas para um desenvolvimento sustentável das esferas económicas, culturais e sociais do nosso mundo. De acordo com uma perspetiva individualista, parece que a ideia de comunidade e elo entre o mundo exterior e o homem caíram no esquecimento. A cultura e as indústrias musicais, impulsionadas por um grande processo tecnológico global, têm permitido uma viagem internacional de som com traços e características de diferentes culturas, rituais e práticas de conceção musical. A música é uma forma de ligação com o mundo. Especificamente, o género musical jazz aborda a mudança nas práticas musicais e performativas, preservando uma conexão com as suas raízes, tradições e rituais. Distingue-se de outros géneros musicais através das suas características instrumentais, diálogos musicais e traços intrínsecos que se referem à sua história e influência sociocultural. Visando uma reconciliação do meio ambiente e da civilização, juntamente com a intersecção do mundo não humano e humano, as esferas física e cultural por intermédio da composição sonora, esta dissertação explora o género musical jazz e suas performances ao vivo num determinado ambiente. Após uma extensa revisão da literária, este trabalho explora os aspetos fundamentais da música, espaço, público, performance e performatividade. O trabalho percorre as sensações e relações que se integram no sistema performativo ecológico. De forma a questionar como o espírito e a sensação de um lugar, por meio de uma abordagem ecológica, afetam a performance de um produto cultural como o jazz ao vivo, e ainda, como isso influencia a performance/atores e o público, o trabalho aborda três blocos principais: a cooperação social na música e sua relação instrumental, a interseção entre ator-performance-público e a inserção da performance num ambiente específico.
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Chappell, Clive. "The ecology of sodic sites in the Eastern Transvaal Lowveld." Thesis, 1992. http://hdl.handle.net/10539/22405.

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Submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg as a requirement for the Degree of Master of Science. Johannesburg, 1992.
The effect of sodium on clays dominates the formation and ecology of granitic eatenas in the Eastern Transvaal Lowveld. This study reviews the process involved and explains the soil, vegetation and erosion patterns in this landscape. Weathering parent rock gives rise to sodium in sufficient amounts to promote clay dispersion. Dispersed, mobile, clays respond to seasonal pulses of laterally moving soil water resulting in alternating zones of clay illuviation and clay deposition down hillslopes [Abbreviated Abstract. Open document to view full version]
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Holmstedt, Janna. "Are you ready for a wet live-in? : explorations into listening." Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-139510.

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Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.

Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617

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Kleyn, Linda Gail. "A spatial model to determine the location and extent of sodic sites in the Shingwedzi and Ripape river catchments of the Kruger National Park using remote sensing classification techniques and satellite imagery." Thesis, 2012. http://hdl.handle.net/10539/11222.

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MSc., Faculty of Science, University of the Witwatersrand, 2011
Sodic soils are salt-affected soils which are high in sodium in relation to magnesium and calcium. Commonly called sodic sites in the Kruger National Park (KNP), these patches exhibit unique functional characteristics due to the high levels of sodium which cause surface crusting, cracking and the dispersion of clay particles. The aim of this study is to use satellite imagery to map sodic sites in the KNP at different spatial and spectral scales, giving the best option for a repeatable, semi-automated classification. The resultant map of sodic sites for the KNP will be used as a management tool and for future research projects. A field test for sodicity was necessary to collect sufficient ground truth samples for robust accuracy assessment of the image classification. Sodic soils are identified by measuring EC, pH and SAR which are highly variable within site and between testing methods, and therefore not useful for rapid ground truth classification of sodic soils in the field. The sodium level at which clay particle dispersion takes place varies between soils, but is measurable in the field using the Emerson dispersion test. Laboratory tested sodic soil sites from previous research re-tested in this study showed positive results for dispersion of clay particles in water. The physical properties of sodic sites described in the literature and observed in the field were applied to classify sodic sites in the KNP in the field using a decision tree, together with results from the dispersion test and the observed presence of the grass species Sporobolus iocladus. Landsat 7 and SPOT 5 imagery cover the whole park, with ASTER, CAO hyperspectral, LiDAR and black and white orthophotos available for selected areas. The topography elements of crest and footslope were derived from the STRM 90m digital elevation model (DEM). Image preprocessing to top of atmosphere reflectance was performed where necessary and visual enhancement techniques and transformations were applied to derive the normalised difference vegetation index (NDVI) and other indices. Spectral signatures were checked against spectral signature libraries, and the class separation was tested using the cluster analysis of spectral signatures. MODIS NDVI averages placed the imagery in phenological context. Object-based image analysis using eCognition was applied to classify the sodic sites of the Shingwedzi and Ripape River catchments. The input imagery was segmented into ecologically meaningful patches and classification accuracy was assessed using the field samples collected using the decision tree to identify four classes: sodic sites (bare and woody), river sand, riverine vegetation and savanna areas. Comparison of the accuracy assessments for the Shingwedzi study site showed that the Landsat 7 and SPOT 5 classification algorithms gave an overall kappa index accuracy of 89% and 78% respectively, and a sodic site kappa index of 90% and 89%. Validation results using the ground truth samples gave an overall kappa index accuracy of 61% for Landsat 7 and 52% for SPOT 5, with a sodic site kappa index of 49% and 39% respectively. The classification algorithms were applied to the Ripape study site for Landsat 7 and SPOT 5 with repeatable results for the SPOT 5 imagery of 88% overall kappa index and 81-93% kappa index for sodic sites using similar seasonal imagery in the wet to early dry season. The Landsat 7 classification algorithm was applied to the entire KNP based on the repeatability results of 56% overall kappa index and 60% sodic site kappa index for the Ripape site. The quest for a repeatable algorithm to classify sodic sites from satellite imagery has been met by the SPOT 5 imagery using scenes acquired at similar seasonal stages. The late wet season or early dry season imagery was used to apply the classification algorithm with the best success. Changes in size or shape of sodic sites over time requires very high resolution imagery and further studies to understand where the edge of sodic sites are detected from imagery, and how the phenology of the vegetation growing on these sites affects detecting any change in size of the sodic site.
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Books on the topic "Sonic Ecology"

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Sonic warfare: Sound, affect, and the ecology of fear. Cambridge, MA: MIT Press, 2010.

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Pijanowski, Bryan C. Principles of Soundscape Ecology: Discovering Our Sonic World. University of Chicago Press, 2023.

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Music-in-Action: Selected Essays in Sonic Ecology. Taylor & Francis Group, 2011.

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Pijanowski, Bryan C. Principles of Soundscape Ecology: Discovering Our Sonic World. University of Chicago Press, 2023.

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Manning, Erin, Steve Goodman, and Brian Massumi. Sonic Warfare: Sound, Affect, and the Ecology of Fear. MIT Press, 2012.

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Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear. MIT Press, 2012.

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Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear. MIT Press, 2012.

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Book chapters on the topic "Sonic Ecology"

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Farina, Almo. "Sonic Characteristics of the Landscape." In Soundscape Ecology, 29–41. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7374-5_2.

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Farina, Almo. "Sonic Patterns I: The Noise." In Soundscape Ecology, 143–92. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7374-5_6.

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Lobel, Phillip S., James G. Garner, Ingrid M. Kaatz, and Aaron N. Rice. "Sonic Cichlids." In The Behavior, Ecology and Evolution of Cichlid Fishes, 443–502. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2080-7_13.

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Farina, Almo. "Sonic Patterns II: The Animal Choruses." In Soundscape Ecology, 193–208. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7374-5_7.

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Barclay, Leah. "Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and Mexico." In Sonic Engagement, 270–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164227-25.

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Farina, Almo. "Sonic Patterns III: Sounds and Vibrations from Soils." In Soundscape Ecology, 209–20. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7374-5_8.

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Fontana, Federico, Hanna Järveläinen, and Stefano Papetti. "Augmenting Sonic Experiences Through Haptic Feedback." In Sonic Interactions in Virtual Environments, 353–81. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04021-4_12.

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AbstractSonic experiences are usually considered as the result of auditory feedback alone. From a psychological standpoint, however, this is true only when a listener is kept isolated from concurrent stimuli targeting the other senses. Such stimuli, in fact, may either interfere with the sonic experience if they distract the listener, or conversely enhance it if they convey sensations coherent with what is being heard. This chapter is concerned with haptic augmentations having effects on auditory perception, for example how different vibrotactile cues provided by an electronic musical instrument may affect its perceived sound quality or the playing experience. Results from different experiments are reviewed showing that the auditory and somatosensory channels together can produce constructive effects resulting in measurable perceptual enhancement. That may affect sonic dimensions ranging from basic auditory parameters, such as the perceived intensity of frequency components, up to more complex perceptions which contribute to forming our ecology of everyday or musical sounds.
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Grimshaw, Mark, and Tom Garner. "Embodied Acoustic Ecology." In Sonic Virtuality, 63–88. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199392834.003.0004.

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"1677: Ecology of Speeds." In Sonic Warfare. The MIT Press, 2009. http://dx.doi.org/10.7551/mitpress/7999.003.0022.

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"4. Radio’s Dark Ecology." In Eco-Sonic Media, 110–41. University of California Press, 2019. http://dx.doi.org/10.1525/9780520961494-006.

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Conference papers on the topic "Sonic Ecology"

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Kalonaris, Stefano, and Iannis Zannos. "High-Order Surrogacy for the Audiovisual Display of Dance." In ICAD 2021: The 26th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2021. http://dx.doi.org/10.21785/icad2021.001.

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The current pandemic (COVID-19) has had considerable impact on many fronts, not least on the physical presence of humans, affecting how we relate to one another and to the natural environment. To investigate these two interactions, the notion of surrogacy, originally described by Smalley as remoteness between source and sonic gesture, is considered and extended to include bodily gesture, for the rendering of contemporary dance performances into abstract audiovisual compositions/objects. To this end, for a given dance performance, sonification of the motion capture data is combined with video-frame processing of the video recording. In this study, we focus on higher order surrogacy and associate this with 1) a soundscape ecology-inspired approach to sonification, whereby three species of sounds coexist and adapt in the environment according to the symbiotic paradigm of mutualism, and 2) a wave space method to sonify their coevolution. Aesthetic implications of this procedure in the context of multimodal, telematic/remote and virtual systems are discussed as disembodied presence emerges as a dominant trope in our daily experience.
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