Dissertations / Theses on the topic 'Sonic images'

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Title of videocassette: Tales of love and glory. Videocassette is VHS format.
Includes bibliographical references (leaves 113-116).
by Martha W. Swetzoff.
M.S.V.S.

El mundo sonoro de los mbyà-guaraní es una dimensión clave de su existencia, así como lo son los niños, quienes a través de su presencia y sus mboraí (cantos y danzas), ocupan un lugar central en el porãoguatá (caminar sagrado guaraní, hacia la perfección). en este artículo se describen datos etnográficos acerca de los procesos y tratamientos corporales y de las teorías de las prácticas visuales y sonoro-performáticas presentes en la forma de ser / vivir mbyà, sobre la base de una investigación entomusicológica entre colectivos mbyà en el sur de Brasil. A partir de estas descripciones se propone la interpretación de un dominio «cosmo-sónico» de la ontología y de la epistemología de este pueblo amerindio, es decir, que la construcción de la persona mbyà y la construcción del conocimiento están estrechamente vinculados con procesos sonoros, así como con performances imagéticas, cinéticas y materiales que fortalecen la escucha y la resonancia del ser.
The mbyà-Guarani sound world is an important dimension of theirexistence as well as their children are, through their presence and their songs, which occupy a central place in the oguatá porã (Guarani sacred walk towards perfection). In this paper, I present ethnographic data on body processes and treatments as well as theories of visual and sound-performative practices that are part of the mbyà way of being / living. the paper is, based on an ethnomusicological research among mbyà groups in southern Brazil. From ethnographic descriptions an interpretation is built: a «cosmo-sonic» domain of ontology and epistemology of this Amerindian people, that is to say, that the construction of the mbyà person— and the construction of knowledge are closely linked with sound processes, as well as to imagery, kinetic and material performances, that strengthen the listening and the resonance of the being.

Studien ligger inom ramen för Ljud- och musikproduktion och bygger på ett case där en varumärkesmelodi/ musiklogotype till ett musikgymnasium ska designas. Syftet med studien är att utforska hur en image kan gestaltas musikaliskt och däri bättre förstå hur forskning genom design och användarmedverkan - påverkar och bidrar till processen inom design av narrativ mediemusik. Studien har ämnat svara på den övergripande frågeställningen: Hur kan komposition av narrativ musik beskrivas och genomföras som en designprocess? Forskningsfrågan innefattar även subfrågorna: Hur bidrar användarmedverkan till arbetsprocess vid design av narrativ mediemusik? Hur bidrar gruppsammansättning, själva processen och processverktygen till ett musikaliskt relevant resultat? Med formuleringen "ett musikaliskt relevant resultat" avses i studiens kontext en musikalisk prototyp/slutprodukt som har potential att kunna uttrycka känslor och värderingar som kan överensstämma med varumärkets (skolans) image och formulerade värderubriker. Kärnan i arbetet ligger inom fälten forskning genom design och användarmedverkan, där deltagarna under arbetsprocessens gång kontinuerligt och i flera processteg bidragit genom diskussioner, reaktioner, resonemang och konkreta förslag. Studien visar att designarbete inom narrativ mediamusik tillsammans med representanter för användarna/ målgruppen kan generera fler idéer om aspekter specifika för arbete med design av narrativ mediemusik samt bidra till större förståelse för aktuella kontexter (målgrupps-relaterade och process-relaterade kontexter såväl som musikaliska och genre-relaterade kontexter), än om designern arbetar ensam. Av vikt är att under designprocessen ta fram flera versioner av prototyperna, att göra olika instrumenteringar och interpretationer av det musikaliska materialet, där ett av målen med prototyperna är att designer stegvis lär sig vad som fungerar - vad som skapar en klingande mening i den aktuella målrelaterade kontexten - och ett sätt att kommunicera den här kunskapen är att designa och pröva flera olika prototyper i klingade form.

This study is concerned with the role of sound in the presentation and representation of bodies in performance art that incorporates digital technologies. It consists of a written thesis accompanied by a portfolio with documentation of original artwork. Since the 1960s, performance artists have explored the use of sensor technologies to register signals generated by the body and synthesize or control sound. However, both practical and theoretical approaches to biosignal sonification in this field have almost entirely focused on musical (formalist) perspectives, technological innovation, or heightening the performer's and spectator's awareness of their body's physiology. Little attention has been paid to the usually conspicuous interaction between body and technological equipment and the role of the generated sound in the context of cultural critical debates regarding the performing body. The present study responds to this observation in two ways: Firstly, the written part of the study examines existing biosignal performance practices. It seeks to demonstrate that artists' decisions on the design of sensor technology and sound synthesis or manipulation methods are often complicit in the representation of normative body types and behaviour. Drawing from a concept of the sonified body as a transgressive or ‘freak' body, three critical perspectives on biosignal sonification in digital performance are proposed: A reading of body sonification methods from a gender-critical perspective, an inquiry in the context of Mikhail Bakhtin's concepts of the grotesque and the classical body, and a conceptualization of the sonified body as a posthuman prosthetisized body. This part of the study serves as a framework for its second objective: the development of practical performance strategies to address and challenge cultural conventions concerning ‘the' body's form and role in society. This aspect of the thesis is developed in conjunction with, and further explored in, the artwork documented in the portfolio. The practical part of the study consists of three digital performance works. ELECTRODE (2011) involves an anal electrode that registers the activity of my sphincter muscle and uses this data to synthesize sound. For this work, I modified a commercially available muscle tension sensor device designed for people with faecal incontinence problems. Feedback (2010) encompasses components of a commercially available fetal Doppler sensor intended to listen to the heartbeat of unborn babies. SUIT (2009-2010) encompasses several performances that feature a PVC overall equipped with a loudspeaker, sensor interface and Doppler and humidity sensors.

Plugged and abandoned well pads throughout the Uintah Basin face reclamation challenges due to factors including a harsh climate, invasive species, and high salt loads. Finding ways to alleviate soil sodicity could improve soil reclamation success. Gypsum, sulfur, activated carbon, and Biochar are being applied to improve soil parameters negatively impacted by sodicity, but the direct impact of these amendments on Uintah Basin soils is still largely unknown. The aim of this study was two-fold. (1) Evaluate the effectiveness of gypsum, sulfuric acid, Biochar, activated carbon, and combinations of these amendments in reducing the impact of soil sodicity of the Desilt and Conglomerate soils by measuring amendment impact on percent dispersion, saturated hydraulic conductivity, crust bulk density, infiltration, and crust formation. (2) Compare a crust bulk density method using ImageJ to the clod wax density method and a modified linear extensibility percent equation to the linear extensibility percent equation to assess whether the novel methods can be used to accurately measure and calculate soil crust bulk density and shrink swell potential while reducing human error and analysis time.

The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.

Doctor of Philosophy(PhD)
In eastern Australia, Vertosols are widely utilised for the production of irrigated cotton (Gossypium hirsutum) due to their inherent fertility and large water–holding capacity. However, irrigated agriculture in eastern Australia is faced with a decline in the availability of good quality irrigation water sources i.e. waters with low electrolyte concentrations and small Na+ contributions. Consequently, alternative water resources that contain larger contributions of Na+ are becoming increasingly relevant as potential irrigation sources. It is known that the application of Na+ rich waters as irrigation has the potential to increase the Na+ content of the soil, and that this will affect the structural condition of Vertosols. However, the extent to which these poor quality water resources will influence the structural characteristics of different Vertosols is unknown. In addition to this knowledge gap, there is currently no suitable predictor of dispersive behaviour for this soil type, particularly where Vertosols are irrigated with different water quality solutions. The research conducted in this study aimed to characterise the impact of different increments of water quality on the structural stability of different Vertosols. Once this was concluded, the study looked to assess the impact of irrigation water quality on the structural stability, structural form and soil water retention properties of intact soil columns. Knowledge of the structural stability of the soils investigated was then used to derive a model describing the impact of water quality on the structural stability of different cotton producing soils. To achieve the aims nine different soil profiles were sampled from the Bourke, lower Gwydir, Hillston and lower Namoi cotton–producing regions. Eight of these soils are Grey and Black Vertosols with clay phyllosilicate suites dominated to different extents by 2:1 expanding clays, and the ninth soil is an illitic Red Vertosol containing small contributions of 2:1 expanding clays. The soils investigated have ESPs that range between 1 and 10, ECs of 0.1 to 1.2 dS m-1 and CECeff values that are largest for those soils that contain more 2:1 expanding clays. This study shows that the clay phyllosilicate suite of different Vertosols is the primary determinant of structural stability, structural form and soil water retention properties. For example, the Gwydir and Namoi soils contain more 2:1 expanding lattice phyllosilicate clays, have the largest CECeff values of all nine soils and are the most dispersive after all applied immersion treatments. The Bourke and Hillston soils contain less 2:1 expanding lattice clay, have smaller CECeff values and are generally more stable. Irrigation of structurally–intact soils with solutions of larger SARw resulted in larger exchangeable Na+ contents for each soil (and larger ESPs) and smaller contributions of exchangeable Ca2+ and Mg2+. For each soil, larger ESPs are reflected by decreased stability, but generally the soils dominated by 2:1 expansive clays are much less stable than the soils containing smaller contributions of these clay mineral types. Irrigating the structurally–intact Vertosols dominated by 2:1 expansive clays generally resulted in structural form attributes that do not indicate any impact of the applied water treatments, but the Vertosols with less of these mineral types tend to have less desirable structural form attributes after irrigation with solutions of larger Na+ content. Similarly, where the water retention properties of two soils were assessed, the illitic Red Vertosol has less structural pore space after treatment using the large SARw solutions, while the other soil (a Black Vertosol dominated by 2:1 expansive clays) does not show any differences between water retention properties that can be linked to irrigation water quality. These results were clarified for the water retention properties by the assessment of pore–solid space relations, which show both these soils to contain less solid space after irrigation with clean water or solutions of large SARw. This is attributed to increased swelling of clays in the presence of larger Na+ contributions, but both soils have different structural arrangements as shown by the water retention properties and structural form assessment. The red illitic Vertosol shows signs of structural collapse, while the black Vertosol maintains its structural arrangement. Finally, a model describing the structural stability of different Vertosols was developed from the stability assessment of soils, both in different water quality treatments and after the irrigation of structurally–intact columns. The model presented uses a surface response function to describe the impact of increased ECw and SARw of irrigation solutions on soil stability after immersion according to specific soil physico–chemical attributes. In this model increased exchangeable Na+, SAR and a larger CECeff (and consequently, an increased proportion of 2:1 swelling clays) are associated with increases in clay dispersion, while a smaller Ca2+:Mg2+ ratio, EC and less total clay are associated with decreases in clay dispersion.

Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.

Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.

Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico.
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Este trabalho apresenta o resultado das atividades realizadas no âmbito do Projeto Cyclops, no ano de 1999, sobre o diagnóstico precoce do câncer de mama auxiliado por computador, através do processamento de imagens oriundas de mamografias convencionais digitalizadas. Partindo-se da revisão do estado da arte e dos aspectos contextuais acerca do câncer de mama, construiu-se um protótipo com interface amigável. Tal protótipo contempla dois métodos de filtragem espacial de imagens: o threshold baseado em estatística global e o threshold baseado em histograma. Os testes finais foram feitos com imagens obtidas de mamografias convencionais digitalizadas, cedidas por clínicas especializadas locais, como também imagens obtidas no banco de imagens mamográficas mantido pelo MIAS (U.K.)

The research investigates the dynamic relations between sound, space and the audience perception as related to an artist’s intention. What is the relation between sound and space in the sonic arts, and to what kind of merger does it lead? What relationship exists between the intention of the composer and the perception of the audience regarding architectural and environmental spaces? Is there a common thread of perception of architectural and environmental spaces among participants? Is embodiment a key for the perception of the dynamic relations of sound and space? The framework for the investigation is based on a map of three defined spaces (Real, Virtual, and Hyperbiological) included in a portfolio of six works (three electroacoustic compositions, two sound installations, and one performance), which lead to the analysis of the perception of space, namely, the perception of architectural and environmental spaces as required by the portfolio. The original knowledge resides in the exploration of a potential common representation (space and sound perception being, of course, a personal representation) of internal perceptual spaces and mental imageries generated by the works. The act of listening plays a major role in the development of the portfolio presented and includes Pauline Oliveros’ concept of deep listening (Oliveros 2005). Sound and space are intimately related in the portfolio. One particular element emerging from this relationship is the plastic quality of sound, meaning that sound is considered and observed as a material that is shaped by space. From this perspective the research investigates the ‘sculptural’ and morphological quality of the relationship between sound and space. The results include the specific language and signature of the artworks that delineate the intersection of music and fine arts. The portfolio pays a large tribute to several iconic artists present in the outposts of sound blurred by space. Composers and artists are therefore presented in the theoretical section in order to highlight how their pioneering works have influenced and informed the present research portfolio. The analysis of the perception of the artworks relates to a methodology based on an empirical survey inspired by phenomenology.

Orientador: Eduardo Tavares Costa
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação
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Resumo: O ultra-som na medicina tem passado por enorme evolução nas últimas décadas e ocupado posição de destaque cada vez maior como ferramenta para terapia e diagnóstico. Isso é devido principalmente ao fato de que os equipamentos de diagnóstico por ultra-som são de relativo baixo custo, o ultra-som é uma radiação não-ionizante e permite realização de exame por método não-invasivo e as imagens são geradas e visualizadas em tempo real. Na geração de imagens deste tipo, é comum a utilização de transdutores matriciais. Entretanto, o Brasil apresenta defasagem tecnológica com respeito à construção destes transdutores e à eletrônica envolvida em sua operação. O objetivo deste trabalho consistiu no desenvolvimento de circuitos eletrônicos com 12 canais de geração e de recepção de ondas ultra-sônicas para operação com transdutor matricial linear. O sistema é capaz de excitar transdutores piezoelétricos e receber ecos ultra-sônicos na faixa de 0,5 a 30 MHz e tem seus circuitos de recepção protegidos contra a alta tensão dos pulsos gerados para a excitação do transdutor. Os disparos dos elementos do transdutor e o tempo de corte dos sinais nos circuitos de recepção, para evitar receber sinais indesejáveis referentes ao período inicial de oscilação do transdutor, são controlados via circuito com microcontrolador PIC 16F877 que, juntamente com o programa de controle, foram desenvolvidos para conectar o sistema a um microcomputador. Os 12 canais foram caracterizados eletricamente e verificou-se seu funcionamento utilizando um transdutor piezoelétrico linear de 12 elementos com 1 MHz de freqüência central, especialmente desenvolvido para este trabalho. Os resultados mostraram que o sistema funciona adequadamente, gerando imagem de um phantom construído em nosso laboratório
Abstract: Ultrasound in medicine has gone through great evolution in the last few decades and has occupied important position as a tool for therapy and diagnosis. This is due to the ultrasound equipment be of relatively low-cost, ultrasound is a non-ionizing radiation, is a non-invasive imaging method, and the images are created and seen in real time. It is common the use of transducer arrays in order to generate this kind of image. There is a lack of know how in Brazil relative to the construction of these transducers and the involved electronics in their operation. The objective of this work was the development of a multi-purpose 12 channel pulser/receiver electronic circuitry to operate with linear transducer arrays. The system is able to fire ultrasound piezoelectric transducers and to receive ultrasound echo signals in the range 0.5-30 MHz. The system has reception circuits with protection against high voltage pulses. The firing of transducer elements and cutting time of the reception circuits, to avoid unwanted signals of natural initial transducer oscillations, can be controlled via PIC 16F877 hardware and software designed to connect the system to a microcomputer. The electrical characteristics of the 12 channel pulser/receiver and its use in firing a specially constructed 1 MHz 12 element PZT transducer array has been carried out and the images of a specially constructed phantom showed that it can be used in laboratory conditions
Mestrado
Engenharia Biomedica
Mestre em Engenharia Elétrica

abstract: Non-Destructive Testing (NDT) is a branch of scientific methods and techniques used to evaluate the defects and irregularities in engineering materials. These methods conduct testing without destroying or altering material’s structure and functionality. Most of these defects are subsurface making them difficult to detect and access. SONIC INFRARED (IR) is a relatively new and emerging vibrothermography method under the category of NDT methods. This is a fast NDT inspection method that uses an ultrasonic generator to pass an ultrasonic pulse through the test specimen which results in a temperature variation in the test specimen. The temperature increase around the area of the defect is more because of frictional heating due to the vibration of the specimen. This temperature variation can be observed using a thermal camera. In this research study, the temperature variation in the composite laminate during the SONIC IR experimentation using an infrared thermal camera. These recorded data are used to determine the location, dimension and depth of defects through SONIC IR NDT method using existing defect detection algorithms. Probability of detection analysis is used to determine the probability of detection under specific experimental conditions for two different types of composite laminates. Lastly, the effect of the process parameters such as number of pulses, pulse duration and time delay between pulses of this technique on the detectability and probability of detection is studied in detail.
Dissertation/Thesis
Masters Thesis Mechanical Engineering 2019

This study on Japanese no theatre addresses questions pertaining to contemporary concerns on text and performance: Who perceives in the no, and how is author/performer/ audience intersubjectivity achieved? How are we to discern this art form's sonically coded intertextuality? When no plays were acquiring written form during the medieval period (1186- 1573), Japan was in the process of transition from an oral and ritual performance tradition to the increasing predominance of written language. Thus, it is appropriate to situate these questions at the interstices of oral, written, musical and performance texts. The historical no audience actively remembered through snatches of lost phrases, half forgotten songs, past stories and poetry learned by heart. Audience engagement constituted a continuous process of calling to mind in the performative present that which had slipped into past memory. With regards to plays by three major no playwrights (Kan'ami, Zeami, Zenchiku), subjective intent was mirrored on the polished stage of audience collective memory. In adopting the methodology employed in the analyses of no literary texts and their corresponding chanted melodies this investigation acknowledges the precision with which no plays were created as intertextual blueprints of literary and performative affective-expression. On the basis of a linguistic principle governing Classical Japanese called kakari musubi Cgrammatical concord' or 'agreement'), contrastive particles as they are used in the no are argued to be remnants of an oral tradition in the process of transition. They act as performative links between the written and chanted texts, signalling intertextual references and coinciding musically with an intensification of the melodic line. The procedure of mapping particles in relation to the chanted melody of the immediate text and its intertextual source material reveals contrastive and sometimes unexpected significations. The distinct ways in which a play's sonic intertext is combined or juxtaposed with its visual and perceptual fields shed light on individual stylistic differences between the three founding no playwrights receiving comparative treatment in this investigation.

碩士
雲林科技大學
設計運算研究所碩士班
99
As times change, industrialization and urbanization transform the structure of traditional rural society and result in imbalanced development between urban and rural areas. Then, as a result of population outflow and change in industries, rural distinctiveness gradually disappeared. Given that visual text was normally used to shape a regional image, this study further added audio text to enrich rural expression and also adopted the soundscape concept proposed by Murray Schafer (1977). Other than artificial sounds and natural sounds, soundscape also covers memory sounds, image sounds, cultural sounds and social sounds. The study incorporated the ecological triangle developed by Tilly (1974) – humans, space and activities, to analyze the urban and rural social structures; as well as the soundscape triangle developed by Schafer (1978) – soundmark, signal, keynote, to analyze the sounds in the environment. This study utilized environmental marketing to transform sounds that are regarded as noises from negative exchange phenomenon to positive exchange of environmental resources. By using in-depth interviews, the study filtered out the scenic spots of Tongshiao Town, Miaoli County featuring mountainous or oceanic uniqueness and conducted a field survey to collect visual and audio text data. The text analysis method was used to analyze the data contents and meanings, and explored the derived interactive relation between humanistic emotions and the rural image. The study designed a soundscape shaping region prototype- “Sonic Vison-Tongshiao, Soundscape”, which blended visual and audio test data into audio-visual interactive creation, in an attempt to help the study subject better promote the region’s tourism industry and reinforce marketing applications. The results can also be used as a reference for future research on shaping a regional image in other rural regions. The results were as follows: 1. Because of the preference for visual culture, more attention shall be paid to auditory feelings, and the missing of either will render the environment unnatural and audio orientation and visual orientation shall coexist with each other in the study of urban and rural soundscape. 2. Through the auditory and visual association experiment, we can figure out that people may feel the sound by unrestrained imagination. In addition, the master in the sound of the timeline also has a great range for people’s thinking. Once people senced the key tonesounds, then they may confirm the sound environment. 3. By the difference between previous test and formal experiment, we can see that if we only use single element to build up the image of one place, it may cause people whom have never been to the place to make a wrong association with the environment. Therefore, if we use the soundscpe to shape the local image, it not only can help people to feel the environment but also build up the imaginary space. Moreover, if the visual dimension also be considered in the soundscape, if may achieve better results.

碩士
國立交通大學
音樂研究所
105
The documentary film with aerial video “Beyond Beauty: Taiwan From Above” (2013) is a postmodern criticism of Taiwan’s modern development and the resulting environmental pollution. As a metaphor for the original and unpolluted Taiwan, the film highlights indigenous music, which seems to be a recognition of the previously disadvantaged minorities at the same time. In the actual scoring, however, Taiwanese indigenous music is almost subsumed under the modern orchestration. For example, the song “Valley of Light” depicts the natural scenery of Taiwan by traditional Atayal singing, but it functions only as a prelude to the main theme in classical Hollywood style. Ironically, while the film condemns the environmental pollution caused by modernization, the modern scoring also leads to the “sonic pollution” of indigenous music. This kind of lifting out the music from its own time and space in the cultural life of the tribes is what Anthony Giddens (1990) terms “disembedment.” On the similar issue of representing indigenous music in films, Claudia Gorbman provides an analytical model in her article “Scoring the Indian: Music in the Liberal Western” (2000). She observes that Native Americans became more and more positively portrayed from the 1950s to the 90s. This reveals how the situation in Taiwan is lacking behind in this regard. The issue of over or under representation is most drastic in the final scene, when the films witches from a documentary to a sort of docudrama. On the one hand, only the children of Bunun, another Taiwanese tribe, are chosen to represent the vision of Taiwan’s future by singing and waving the national flags on the highest summit, Mountain Yushan. On the other hand, the song they are singing is not of their own tradition but a modern tune which partly resembles The Carpenter’s hit song “Top of the World.” Choosing only a certain ethnic group to represent the whole Taiwan reflects an essentialist imagination. Instead, music of different ethnic groups should be heard as the voices of Taiwan. While the ecological problems of Taiwan could be seen beyond its apparent beauty, a holistic, fair and balanced musical representation of the multicultural Taiwan is still to be heard.

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.