Relevant bibliographies by topics / Sonic objects

Academic literature on the topic 'Sonic objects'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Sonic objects"

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Godøy, Rolf Inge. "Images of Sonic Objects." Organised Sound 15, no. 01 (March 11, 2010): 54. http://dx.doi.org/10.1017/s1355771809990264.

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Al-Taie, Inas, Paola Di Giuseppantonio Di Franco, Michael Tymkiw, Duncan Williams, and Ian Daly. "Sonic enhancement of virtual exhibits." PLOS ONE 17, no. 8 (August 24, 2022): e0269370. http://dx.doi.org/10.1371/journal.pone.0269370.

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Museums have widely embraced virtual exhibits. However, relatively little attention is paid to how sound may create a more engaging experience for audiences. To begin addressing this lacuna, we conducted an online experiment to explore how sound influences the interest level, emotional response, and engagement of individuals who view objects within a virtual exhibit. As part of this experiment, we designed a set of different soundscapes, which we presented to participants who viewed museum objects virtually. We then asked participants to report their felt affect and level of engagement with the exhibits. Our results show that soundscapes customized to exhibited objects significantly enhance audience engagement. We also found that more engaged audience members were more likely to want to learn additional information about the object(s) they viewed and to continue viewing these objects for longer periods of time. Taken together, our findings suggest that virtual museum exhibits can improve visitor engagement through forms of customized soundscape design.
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Edelstein, Phil. "Sonic Objects, Resonance and Chaotics." Leonardo Music Journal 22 (December 2012): 54. http://dx.doi.org/10.1162/lmj_a_00093.

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The author describes structural elements for and the conditions and contexts within which he creates his work. The recurring use of fractals and resonance is integral to the construction of sound objects.
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Panourgia, Eleni Ira, Finbar Wheelaghan, and Xue Yang. "Digital interactions." Airea: Arts and Interdisciplinary Research, no. 1 (June 13, 2018): 3–10. http://dx.doi.org/10.2218/airea.2732.

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This article discusses a prototype that explores the simultaneous manipulation of three-dimensional digital forms and sound. Our multi-media study examines the aesthetic affordances of tight parameter couplings between digital three-dimensional objects and sound objects based on notions of process and user-machine interaction. It investigates how effective cohesion between visual, spatial and sonic might be established through changes perceived in parallel; what Michel Chion refers to as 'synchresis'. Drawing from Mike Blow's work On the Simultaneous Perception of Sound and Three-Dimensional Objects and processual art, this prototype uses computer technology for forming and mediating a creative practice involving 3D animation, sound synthesis, digital signal processing and programming. Our practice-based approach entails the rendering of a three-dimensional digital object in Processing whose form changes over time according to specific actions. Spatial data is sent via Open Sound Control (OSC) to Max MSP in real time, where sound is synthesized and then manipulated. Sonic parameters such as amplitude, spectral density/width and timbre are controlled by select spatial parameters from the three-dimensional object. Sound processing is realized based on the changing of the three-dimensional object in time through basic actions such as splitting, distorting, cutting, shattering and rotating. We use digital technology to look beyond basic synchronisation of sound and vision to a more complex cohesion of percepts, based on changes to myriad sonic and visual parameters experienced concurrently.
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Grond, Florian, and Piet Devos. "Sonic boundary objects: negotiating disability, technology and simulation." Digital Creativity 27, no. 4 (October 2016): 334–46. http://dx.doi.org/10.1080/14626268.2016.1250012.

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Worrall, David. "Computational Designing of Sonic Morphologies." Organised Sound 25, no. 1 (March 4, 2020): 15–24. http://dx.doi.org/10.1017/s1355771819000426.

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Much electroacoustic music composition and sound art, and the commentary that surrounds them, is locked into a materialist sound-object mindset in which the hierarchical organisation of sonic events, especially those developed through abstraction, are considered antithetical to sounds ‘being themselves’. This article argues that musical sounds are not just material objects, and that musical notations, on paper or in computer code, are not just symbolic abstractions, but instructions for embodied actions. When notation is employed computationally to control resonance and gestural actuators at multiple acoustic, psychoacoustic and conceptual levels of music form, vibrant sonic morphologies may emerge from the quantum-like boundaries between them. In order to achieve that result, it is necessary to replace our primary focus of compositional attention from the Digital Audio Workstation sound transformation tools currently in vogue, with those that support algorithmic thinking at all levels of compositional design.
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Wendt, Florian, Gerriet K. Sharma, Matthias Frank, Franz Zotter, and Robert Höldrich. "Perception of Spatial Sound Phenomena Created by the Icosahedral Loudspeaker." Computer Music Journal 41, no. 1 (March 2017): 76–88. http://dx.doi.org/10.1162/comj_a_00396.

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The icosahedral loudspeaker (IKO) is able to project strongly focused sound beams into arbitrary directions. Incorporating artistic experience and psychoacoustic research, this article presents three listening experiments that provide evidence for a common, intersubjective perception of spatial sonic phenomena created by the IKO. The experiments are designed on the basis of a hierarchical model of spatiosonic phenomena that exhibit increasing complexity, ranging from a single static sonic object to combinations of multiple, partly moving objects. The results are promising and explore new compositional perspectives in spatial computer music.
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Liu, Shaowei, Junqiang Bai, Peixun Yu, Bao Chen, and Boxiao Zhou. "Aerodynamic Optimization Design on Supersonic Transports Considering Sonic Boom Intensity." Xibei Gongye Daxue Xuebao/Journal of Northwestern Polytechnical University 38, no. 2 (April 2020): 271–78. http://dx.doi.org/10.1051/jnwpu/20203820271.

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It is key points to improve the aerodynamic efficiency and decrease the sonic-boom intensity for the supersonic aircraft design. Sonic-boom prediction method with high precision combining the near-field sonic-boom prediction based on Reynolds-Averaged Navier-Stokes equations and the far-field sonic-boom prediction based on waveform parameter method is firstly established. Then the gradient of sonic boom with respect to the design variables is calculated by the finite difference method and is combined with the gradient of the aerodynamic object by the discrete adjoint technique, acting as the gradient of the weighed object function. Assembling two gradients, the optimization system couples Free Form Deform method、the dynamic mesh technique based on Inverse Distance Weighting interpolation method、the gradient-based optimization algorithm based on the sequential quadratic programming. Using the aerodynamic optimization system considering the sonic boom intensity, the paper conducts a nose angle deflection optimization design and an elaborate aerodynamic optimization including huge design variables and constraints on a supersonic business jet, while the optimization objects are the weighed object and the supersonic cruise drag coefficient. The results show that the nose is deflected downward and the shock wave pattern is changed, leading to a lower far-field maximum overpressure; the drag is decreased by 15.8 counts, and the wing load is moved inboard, also, the pressure drag of the outer wing reduces. Meanwhile, the pressure distribution in the outer wing has a weaker adverse pressure gradient and a more gentle pressure recovery. After optimization, the low-drag and low-sonic boom configuration is obtained, which verified the effectiveness of the optimization system.
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Doel, Kees van den, and Dinesh K. Pai. "The Sounds of Physical Shapes." Presence: Teleoperators and Virtual Environments 7, no. 4 (August 1998): 382–95. http://dx.doi.org/10.1162/105474698565794.

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We propose a general framework for the simulation of sounds produced by colliding physical objects in a virtual reality environment. The framework is based on the vibration dynamics of bodies. The computed sounds depend on the material of the body, its shape, and the location of the contact. This simulation of sounds allows the user to obtain important auditory clues about the objects in the simulation, as well as about the locations on the objects of the collisions. Specifically, we show how to compute (1) the spectral signature of each body (its natural frequencies), which depends on the material and the shape, (2) the “timbre” of the vibration (the relative amplitudes of the spectral components) generated by an impulsive force applied to the object at a grid of locations, (3) the decay rates of the various frequency components that correlate with the type of material, based on its internal friction parameter, and finally (4) the mapping of sounds onto the object's geometry for real-time rendering of the resulting sound. The framework has been implemented in a Sonic Explorer program which simulates a room with several objects such as a chair, tables, and rods. After a preprocessing stage, the user can hit the objects at different points to interactively produce realistic sounds.
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CHAKRABARTI, K., M. M. MAJUMDAR, and SANDIP K. CHAKRABARTI. "ACCRETION ONTO COMPACT OBJECTS VIEWED AS A FLOW IN CONVERGING-DIVERGING DUCTS." International Journal of Modern Physics D 17, no. 05 (May 2008): 799–814. http://dx.doi.org/10.1142/s0218271808012504.

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Black hole accretion is necessarily transonic and the number of physical sonic points depends on the angular momentum of the flow. We study the properties of such a flow by recasting this idea into an engineering problem in which a flow has a subsonic to supersonic transition when it passes through a de Laval nozzle, i.e. a converging and diverging duct in a flat geometry in the presence of sufficient end pressure difference. Particularly interesting is the case of the centrifugal pressure supported standing shock formation inside an accretion flow, because the flow passes through at least two saddle type sonic points, one before and one after the shock. In this case, the duct itself has two minima and a maximum. We study the properties of such a duct as a function of the inflow parameters and classify all possible types of the flow through this composite nozzle.
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Dissertations / Theses on the topic "Sonic objects"

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Wells, Craig. "Sonic stuff : objects and objectiles." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3220.

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This thesis investigates the role of objects in creative practice as alluring and evocative materials that disrupt compositional intentions and trajectories. This research does not begin from music as a cultural text but rather from the deeper experiences of sound as resistant materials that animate experiential space with their own styles of atmosphere, ambience and inaudible-audible signatures. Working across and often at the peripheries of the theoretical disciplines of object orientated ontology and process philosophy I address the philosophical issue of how sounds and objects possess the potential to unsettle, agitate and reconfigure networks of relation. Practice has informed a hybridisation of concepts derived from various disciplines, which are held together by threads of fictionalised prose that contribute alternative insights into the field of studio-based composition. This research employs a phenomenological method of reduction and at times an object orientated approach in theorising the autonomous life of sounds and objects. Dense descriptions of experiences, observations, thoughts and poetics form the basis for developing an informed creative treatise. Deviating descriptions of sensuous experiences are deployed throughout this research in order to find personal and meaningful ways of articulating sonic encounter. What are the multiple contours of Sonic Stuff? Is there an identity of sonic potential? What tensions/relations occur between the composer, studio and sonic object? In what form does Sonic Stuff reveal and characterise experiential time and space? What do the concepts of the withdrawn and revealed afford an understanding of sonic objects and sound in-itself?
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Palombini, Carlos Vicente de Lima. "Pierre Schaeffers typo-morphology of sonic objects." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/1191/.

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Mortimer, Elizabeth R. "Sonic properties of silks." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:687a0e08-41e3-4e6d-85c0-b7ddf12762f1.

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Silks are biomaterials made by spiders and silkworms, evolved for natural functions ranging from protection to predation. The research presented in this Thesis combines principles and methods from engineering, physics and biology to study the material properties of single silk fibres from a biological perspective. In particular, the factors that contribute to the variation in properties of single silk fibres are investigated. The first part of the Thesis focuses on silks made by silkworms. Whether naturally spun or forced reeled, the mechanical properties of these silks are sensitive to a range of environmental and processing conditions, such as humidity, stretching and reeling speed. The research presented in this section contributes to the understanding of how these applied conditions affect silk mechanical properties, which can be understood in terms of silk’s protein structure and biological context. The second section compares both silkworm and spider silk single fibres to other materials in terms of their sonic properties – how the materials propagate sound waves, whether following impact, or propagating vibrations. The results are discussed in the context of the silk’s natural function for impact resistance (silkworm cocoon or spider web) and vibrational signalling (spider silks). The Thesis ends with a discussion of how the presented techniques can be applied to help further our understanding of orb web function through studying spider silks. Overall, this interdisciplinary Thesis contributes to our understanding of the structure-property-function links of these fascinating biomaterials.
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Rogers, Paul John. "The beauty of sonic waste : the transformation of sound debris and junk objects within environmentally based compositional practice : a methodology." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/618450/.

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The beauty of sonic waste is a practice-as-research project that contributes to new knowledge through the development of a sonic waste methodology and experiential insights within new compositions. Sonic waste is an alignment of a range of previously unconnected disciplines that collectively incorporate noise, junk objects and extraneous, sounds. The line of enquiry develops an empowering methodology in transforming waste to beauty, in this line of enquiry this is taken to mean the transformation of sounds and objects generally considered unwanted, to a condition of wanted. A holistic, ecological approach is adopted with themes of environmental awareness informing the methods adopted with the compositions. This complementary writing discusses the conceptual and critical topics informing the practical outcomes, and highlights the insights achieved from this approach within the wider methodology. In particular, the disciplines of Acoustic Ecology and Media Archaeology are aligned with the practice. The line of enquiry followed in this study revealed that the engagement within these related fields provided fertile strategic approaches in the development of the compositions. Throughout the critical writing it is argued that this proposed organisation and compositional appropriation of the ever-increasing sonic waste in society produces a positive and pro-active approach to both the understanding and abatement of junk sounds and objects. Through the implementation of this methodology it is possible to engage audiences and contribute to conditions leading towards pro-active change in our understanding of the environmental issues of noise and object pollution. The practice encourages recycling and repurposing waste materials and promotes an awareness of the effects of noise in the environment. The practice portfolio includes a range of outcomes including stereo recordings, live performance, theatre, film soundtracks and sound installations. Four compositions have been selected as case studies, the first two of which are discussed in detail. A wide range of additional studies and compositions were also undertaken to provide focused research insights. These studies fed into the selected compositions and are discussed at appropriate points.
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Lavender, James Huitson. "The call for sonic thinking : Gilles Deleuze and the object of sound studies." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12489/.

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This thesis proposes to define and to dramatize a relation between Deleuze studies and sound studies in terms of a conception of theoretical work as an experimental practice that bears not upon objects but upon Ideas—or rather, that reconfigures the sense of object in relation to a renewed conception of the Idea. This relation between two discourses will proceed through an engagement between the work of Gilles Delueze and that of John Cage, constituted as an “interference between practices”, with the intent of furnishing, to sound studies, a meta-theoretical reflection on the problem that sound poses to thinking, and on the conditions under which theory can respond to such a problem without, thereby, reducing it to something all-too-recognisable.
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Straehli, Benjamin. "La basse fondamentale de Jean-Philippe Rameau et son objectivité : une approche phénoménologique." Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30019/document.

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Jean-Philippe Rameau affirme que l'harmonie a pour principe la basse fondamentale. Il soutient également que cette basse fondamentale est quelque chose qui peut se sentir dans la pratique musicale. Néanmoins, il ne considère pas ce sentiment comme une justification suffisante pour son principe. En conséquence, il n'explique pas précisément en quoi ce sentiment peut consister, et préfère donner des arguments physico-mathématiques.La présente thèse traite du problème suivant: qu'est-ce donc que sentir la basse fondamentale, et ce sentiment est-il réellement inapte à justifier ce concept? Pour y répondre, il faut prêter attention aux opérations par lesquelles le lecteur de Rameau est invité à cultiver sa sensibilité à l'harmonie. Il s'agit de commenter ces opérations à l'aide de la phénoménologie de Husserl. Pour produire une phénoménologie de la basse fondamentale, il importe de décrire les sons avec plus de précision que Rameau ne le fait dans ses traités. Cela peut être réalisé grâce au solfège généralisé de Pierre Schaeffer.Mais pour cela, un travail préparatoire est nécessaire. L'introduction vise à montrer qu'il n'y a rien d'étrange, pour traiter de l'harmonie du dix-huitième siècle, à se servir des travaux de Schaeffer. Les quatre premiers chapitres ont pour but de clarifier le concept de basse fondamentale. Les quatre derniers visent à produire une phénoménologie de certains aspects du son, de l'harmonie et de la basse fondamentale. Il apparaît alors que le sentiment peut effectivement justifier la décision de considérer la nasse fondamentale comme le principe de l'harmonie; mais une telle justification n'a pas toute la force que recherchait Rameau
Jean-Philippe Rameau has claimed that the fundamental bass is the principle of harmony. He also presents this fundamental bass as something which can be felt in musical practice. Nevertheless, he doesn't consider that feeling as a sufficient justification for his principle. As a consequence, he doesn't explain precisely what that feeling consists in, and he prefers to develop some physical and mathematical arguments to prove his theory.This thesis deals with the following issue: what is it like to feel the fundamental bass, and does this feeling really offer no sufficient justification for that concept? To answer those questions, attention has to be paid to the operations by which Rameau's reader is supposed to cultivate his own sensibility to harmony; and they shall be commented with the help of husserl's phenomenology. To provide a phenomenology of the fundamental bass, it is necessary to describe sounds more precisely than Rameau does in his treatises. Such a description shall be achieved thanks to Pierre Schaeffer's generalized solfeggio.But to make it possible, some preliminary work is required. An introduction shall argue that there is nothing strange in using Schaeffer's work to deal with harmony of the eighteenth century. The first four chapters are intended to clarify the concept of fundamental bass. The last four chapters are intended to produce a phenomenology of some aspects of sound, harmony and fundamental bass. At the end of this thesis, it appears that feeling can justify the fundamental bass to be considered as the principle of rules; but this justification does not have the strength Rameau was looking for
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Gatinet, Brice. "Chorégraphier le son." Thèse, 2013. http://hdl.handle.net/1866/10757.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).
Durant ces trois dernières années, mon langage musical a évolué vers une dialectique de plus en plus gestuelle. Par l’intermédiaire de cet élément, j’ai recherché comment on pouvait « chorégraphier » la musique. Ces réflexions m’ont poussé à choisir une approche basée aussi bien sur le mouvement que sur la temporalité afin d’en déduire certains aspects musicaux. La finalité est de mêler d’une manière cohérente le geste chorégraphique, le geste musical et le geste instrumental. J’ai choisi de présenter mes pièces en ordre chronologique afin de montrer les liens qui subsistent entre elles, aussi bien dans leurs caractères que dans l’évolution de mon discours compositionnel. Ces oeuvres, qui utilisent toutes certains paradigmes électroacoustiques, exhibent une forte disparité énergétique et démontrent un intérêt marqué pour les extrêmes. Ces éléments sont au coeur de mon écriture et de ma pensée musicale. Ces considérations m’ont permis de faire évoluer un concept de « musique chorégraphique » dans lequel le discours musical s’oriente à travers différents types d’événements gestuels.
During these last three years, my language evolved constantly towards a more gestural vocabulary. Through this, I searched for a way to « choreograph » music. During this research, I gave as much importance to movement as to temporality in order to highlight certain aspects that are purely musical. The objective is mixing the pure choreographical movement, the musical gesture, and the instrumental gesture. I choose to present my pieces chronologically in order to analyze their relation, the compositional evolution that I experimented. These pieces use very different energy dynamics, a tendency for the extremes and the paradigm of electroacoustic music. These elements are intrinsic both in my writing and my musical thinking. Taking this into consideration, I was able to generate the concept of « choreographical » music, where the music is expressed through different types of gesture.
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Books on the topic "Sonic objects"

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Sonic The Hedgehog: Look and Find. Lincolnwood, IL: Publications International, Ltd., 1995.

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Walker, Elsie. The Seventh Continent. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0003.

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This chapter is an auteurist analysis that establishes the fundamental sonic patterns of Haneke’s work, especially as they create impact through concentrated moments. Like Mother Courage’s silent scream, these moments are self-consciously constructed to unsettle us, raise questions, challenge conventions of representation, and demand our emotional and intellectual reactions to them as such. This close analysis of The Seventh Continent illuminates the dominant sonic patterns of Haneke’s cinema, including: heightened sound effects of everyday objects and actions, atypical emphasis on absent sound and silences, the non-sutured use of sound, the use of music as “noise,” sound effects that are carefully “orchestrated,” pared-down dialogue, abrasively depersonalized and often acousmatized speech, and the sparing use of music that is clearly meant to be heard.
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Aghoro, Nathalie. The Acoustics of the Social on Page and Screen. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781501361418.

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Sound positions individuals as social subjects. The presence of human beings, animals, objects, or technologies reverberates into the spaces we inhabit and produces distinct soundscapes that render social practices, group associations, and socio-cultural tensions audible. The Acoustics of the Social on Page and Screen unites interdisciplinary perspectives on the social dimensions of sound in audiovisual and literary environments. The essays in the collection discuss soundtracks for shared values, group membership, and collective agency, and engage with the subversive functions of sound and sonic forms of resistance in American literature, film, and TV.
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Whitesell, Lloyd. Stardust. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0007.

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This chapter considers the deep-rooted association of glamour with magic powers. Glamour’s bestowal of mystique on objects, people, and emotions depends on a more fundamental goal of inspiring magical thinking, an aspect of glamour that seeks to preserve the experience of enchantment in a disenchanted world. The Hollywood phenomena of star worship and iconic representation are discussed as secular religious practices that have developed in response to the changing conditions of modernity. The chapter shows how three conventional symbols of divinity—haloes, crowns, and veils—contribute to the idolization of a star and find expression in film music according to its own sonic vocabulary.
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Gallerneaux, Kristen. High Static, Dead Lines: Sonic Spectres and the Object Hereafter. Strange Attractor, 2018.

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Hudson, Dale. Blood, Bodies, and Borders. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0002.

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This chapter compares two films that reinterpret Bram Stoker’s 1897 novel Dracula and its vampire in different ways. Francis Ford Coppola’s Bram Stoker’s Dracula (1992) parodies a nostalgic and orientalist perspective on debates about the place of the Middle East in the formation of US transnational identity and history, whereas Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2014) moves towards this history’s radical revision. Coppola imagines a “vampire ayatollah” during the first US invasion of Iran’s neighbor Iraq; Amirpour, as a feminist hijabi in the sonic space of Tehrangeles. The filmmakers’ familial trajectories underscore Hollywood’s transnational constitution as linked to US policy. The comparison develops a critical approach for how vampires serve as both object and mode of analysis throughout the book. Stoker’s tropes of blood, bodies, and borders map onto US laws concerning race, immigration, and assimilation.
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Fleury, Sonia. Estado sin ciudadanos: seguridad social en América Latina. De la UNLa - Universidad Nacional de Lanús, 2021. http://dx.doi.org/10.18294/9789874937834.

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Sonia Fleury aborda en este libro una elaborada articulación de teoría social e historia. Articulación que podría pensarse como meta difícil de alcanzar para algunos historiadores y salvaguarda contra la excesiva abstracción para buena parte de los cientistas sociales. La introducción de la historicidad en los campos de la teoría social y la teoría política ayuda a prevenir el riesgo de analizar nuestros objetos de trabajo a la luz de teorías de valor supuestamente generalizable y cientificidad que no requeriría verificación. Nos obliga a reconstruir procesos y a considerarlos no como aplicaciones histórico-concretas de leyes de cumplimiento universal sino como construcciones sociales, generadas a partir de la praxis de determinados actores, que elaboran sus estrategias en el interior de una trama de reglas y recursos, límites y posibilidades a la vez para la realización de sus proyectos de futuro. Esta reconstrucción toma como objeto de reflexión las condiciones del Estado de bienestar en los países latinoamericanos, la específica forma de implantación en la periferia de lo que Dieter Helm ha caracterizado como “consenso de posguerra”, y otros estudiosos identifican como combinación peculiar de crecimiento económico y bienestar social, dispositivo viabilizador de la convivencia entre capitalismo y democracia. Los pilares del Estado creado a partir de ese consenso fueron precisamente las políticas de bienestar, un mix particular de propiedad privada y pública y el rol directivo del Estado a nivel macroeconómico. Sobre esos pilares se construyó la utopía universalista, solidaria, que pone en manos del Estado la institucionalización de los derechos sociales. Susana Belmartino (Fragmento del Prólogo)
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Book chapters on the topic "Sonic objects"

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Godøy, Rolf Inge. "Sonic Object Cognition." In Springer Handbook of Systematic Musicology, 761–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_35.

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Wishart, Trevor. "Phonemic Objects." In On Sonic Art, edited by Simon Emmerson, 287–98. Routledge, 1996. http://dx.doi.org/10.4324/9781315077895-17.

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"Introduction: On Objects, Humans, and Machines." In Sonic Writing. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781501313899.0006.

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"Perceptual Evaluation of Sound-Producing Objects." In Sonic Interaction Design. The MIT Press, 2013. http://dx.doi.org/10.7551/mitpress/8555.003.0007.

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"Simulating Contacts between Objects in Virtual Reality." In Sonic Interaction Design. The MIT Press, 2013. http://dx.doi.org/10.7551/mitpress/8555.003.0021.

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Barringer, Tim. "Sonic Spectacles of Empire: The Audio-Visual Nexus, Delhi-London, 1911-12." In Sensible Objects, 169–96. Routledge, 2020. http://dx.doi.org/10.4324/9781003086611-9.

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Stearns, Matthew. "Toward a New Economics of Sound, Objects, and Genitalia." In Sonic Youth's Daydream Nation, 70–83. Bloomsbury Publishing Inc, 2007. http://dx.doi.org/10.5040/9781501397332.ch-006.

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"Listening to the Sounding Objects of the Past: The Case of the Car." In Sonic Interaction Design. The MIT Press, 2013. http://dx.doi.org/10.7551/mitpress/8555.003.0003.

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Parker, James EK. "Gavel." In International Law's Objects, 214–24. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198798200.003.0018.

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The gavel is one of the most widely recognized objects of law around the world today. Images of it are everywhere. Gavels feature in some of the most prominent institutions of international law as well as in many courts and legislatures internationally. Even in jurisdictions where the gavel doesn’t appear in conventional legal settings it can still be found at auctions, conferences, and meetings, and will be doing important juridical work. It is not, however, well understood. Drawing on contemporary work in sound studies and jurisprudence, and via a close reading of a film by Italian artist Diego Tonus, this chapter provides a critical evaluation of the gavel’s material, symbolic, and sonic lives. It suggests that the gavel is right at the centre of the global juridical imaginary, and that this serves as a reminder that sound matters in law in ways that are not yet adequately explored.
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"Programming Interlude IV: Under the IceCap: Sonic Objects and "BioLogging"." In Climate Change and Museum Futures, 249–52. Routledge, 2014. http://dx.doi.org/10.4324/9780203752975-23.

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Conference papers on the topic "Sonic objects"

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Haller, Kristian C. E. "Three Nonlinear NDE Techniques On Three Diverse Objects." In INNOVATIONS IN NONLINEAR ACOUSTICS: ISNA17 - 17th International Symposium on Nonlinear Acoustics including the International Sonic Boom Forum. AIP, 2006. http://dx.doi.org/10.1063/1.2210324.

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Marston, Philip L. "Acoustic Radiation Force On Elliptical Cylinders And Spheroidal Objects In Low Frequency Standing Waves." In INNOVATIONS IN NONLINEAR ACOUSTICS: ISNA17 - 17th International Symposium on Nonlinear Acoustics including the International Sonic Boom Forum. AIP, 2006. http://dx.doi.org/10.1063/1.2210403.

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Nikolaeva, Anastasiia V., Maxim A. Kryzhanovsky, Sergey A. Tsysar, Wayne Kreider, and Oleg A. Sapozhnikov. "Experimental study of acoustic radiation force of an ultrasound beam on absorbing and scattering objects." In RECENT DEVELOPMENTS IN NONLINEAR ACOUSTICS: 20th International Symposium on Nonlinear Acoustics including the 2nd International Sonic Boom Forum. AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4934404.

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Albers, Albert, Markus Dickerhof, and Wolfgang Burger. "Condition-Monitoring Based on Structure-Borne Ultrasound Analysis." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49408.

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Recent results in condition monitoring of machine elements by acoustic emission analysis are presented. A special method based on the evaluation of structure-borne noise emissions in the ultrasonic range is described. The ultrasound-signals caused by friction processes are captured by a broadband piezoelectric sensor and analyzed subsequently. The method has proven to be suitable for detecting the occurrence of friction between solid objects in a very reliable way. This leads to a variety of possible applications wherever occurrence of solid body friction has to be considered as an indication of failure or wear. In addition to tribometer tests, experiments with sliding bearings and slide ring seals are presented exemplarily. In both cases promising results were achieved. The significant difference of the presented method compared to other sound-based methods is in the nature of the analyzed signals: Harmonic waves of audible sounds or percussion-type stimulations are not evaluated but the portion of friction sounds emerging in the ultra-sonic range beyond audible frequencies. These friction sounds are widely unaffected by ambient noise and other sources of interference.
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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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Gupta, Naman, and Ambuj Kumar Agarwal. "Object Identification using Super Sonic Sensor: Arduino Object Radar." In 2018 International Conference on System Modeling & Advancement in Research Trends (SMART). IEEE, 2018. http://dx.doi.org/10.1109/sysmart.2018.8746951.

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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.

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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Monacchi, David. "The sonic heritage of ecosystems." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.12.

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This paper discusses the importance of the ‘paleo- soundscapes’ of remote natural habitats as unique footprints of the systemic behaviour of healthy ecosystems and proposes considering them as intangible heritage to be urgently recorded and preserved. The interdisciplinary project Fragments of Extinction has worked toward preserving that ecological heritage through multidimensional sound recording eldwork in primary equatorial rainforests since 2002. The soundscapes of these unique, untouched and undisturbed places – increasingly threatened by human pressure and climate change – represent an object of patrimonialization that can offer insights to a range of fields. The project seeks to merge science (eco acoustics), technology (3D sound recording and reproduction) and art (environmental sound art) to contribute to the preservation of examples of the ordered and fragile equilibrium of biodiversity, and to encourage ecological awareness among audiences.
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Rath, Matthias, and Sascha Bienert. "Integrated modelling of sonic vibration and macroscopic object movement." In the 3rd international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413675.

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Madaghiele, Vincenzo, and Sandra Pauletto. "Investigating Real-Time Feedback of Energy Consumption and Emission Data Through Sonic Interaction Design." In ICAD 2022: The 27th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2022. http://dx.doi.org/10.21785/icad2022.020.

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As buildings become increasingly automated and energy efficient, the relative impact of occupants on the overall building carbon footprint is expected to increase. Research shows that by changing occupant behaviour energy savings between 5 and 15 % could be achieved. A commonly used device for energy-related behaviour change is the smart meter, a visual-based interface which provides users with data about energy consumption and emissions of their household. This paper approaches the problem from a Sonic Interaction Design point of view, with the aim of developing an alternative, sound-based design to provide feedback about some of the data usually accessed through smart meters. In this work, we experimented with sonic augmentation of a common household object, a door mat, in order to provide a non-intrusive everyday sonic interaction. The prototype that we built is an energy-aware sonic carpet that provides real-time feedback on home electricity consumption and emissions through sound. An experiment has been designed to evaluate the prototype from a user experience perspective, and to assess how users understand the chosen sonifications.
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Reports on the topic "Sonic objects"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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