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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Cross, Richard. "Towards a Practice of Palimpsestic Listening." Organised Sound 26, no. 1 (April 2021): 145–53. http://dx.doi.org/10.1017/s1355771821000145.
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This article invites reflection on the ambiguity of sonic temporalities as the lines between physicality and immediacy become increasingly blurred. Through the notion that digital technologies are haunted by analogic process, I foreground the concept of Palimpsestic Listening to explore the musical qualities and critical resonances of sonic acts and objects in hybrid physical/digital systems that evoke layered temporalities that are ‘historically distinct nonetheless linked’. I also seek to illustrate the significance of engaging practically with this concept by discussing the methods behind my composition D/ta Ro} – A Dialectical Trash Heap, a sound installation that interrogates the relationship between sonic materiality and digital audio processing and how acts of erasure and time-stretching might influence the layering of disparate sound materials.
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Silverstein, Shayna M. "Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions." Performance Matters 6, no. 2 (March 16, 2021): 94–111. http://dx.doi.org/10.7202/1075803ar.
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Given the salient role of embodied tactics in contemporary networked protests in performance, in this essay I listen for how the embodied sonic praxis of protests during the Arab revolutions translates into the audio, visual, and text modalities of digital media. I propose audibility, or the appearance and perceptibility of sound objects, as that which translates the “live” sound that occurs in physical spaces into representational spaces, and, in so doing, alters the temporality and spatiality of the sonic experience. Interrogating who and what are rendered audible as part of the political contestations that drive protest actions, I demonstrate how audibility is a technological condition, sensory force, and social process through which affective publics emerge in networked spaces. I begin with social media posts from the first months of non-violent protest actions in 2011, in Egypt and Syria, analyzing the translation of sonic objects into written texts that narrativize the subjects and spaces of the Arab revolutions. I then shift to the sonic praxis of revolutionary mourning in a discussion of the audibility of the crowd in footage of protest funerals that reclaimed martyrs of the Syrian revolution in 2018 and 2019, interrogating how the sounds of the crowd enable the mythologization of the martyrs’ bodies and help mobilize the cause for which they died. Both approaches to audibility – as expressing voice and documenting sounds – underscore how audibility, I argue, is crucial for understanding the affect-rich intensities that drive networked protest performances, and that forge political possibilities as imaginable, sensible, and perceptible.
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Saunders, James. "Specific Objects? Distributed Approaches to Sourcing Sonic Materials in Open form Compositions." Contemporary Music Review 32, no. 5 (October 2013): 473–84. http://dx.doi.org/10.1080/07494467.2013.849875.
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Heikkilä, Tapio, Markku Järviluoma, and Osmo Voutilainen. "An Object Locating Method with Uncertainties Applied to an Ultrasonic Multi-Sensor System." Journal of Robotics and Mechatronics 5, no. 2 (April 20, 1993): 134–40. http://dx.doi.org/10.20965/jrm.1993.p0134.
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We present a model-based iterative algorithm for estimating the position and orientation of regular objects applied to multiple ultrasonic distance measurements. It is based on standard minimum error covariance estimation that minimizes the weighted square sum of the measures reflecting errors between the real and nominal objects. A discussion is also provided about the use of the variance/covariance estimate as a measure of uncertainty in designing the configuration of the ultra-sonic multi-sensor system.
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Patterson, Maurice, and Gretchen Larsen. "Listening to consumption: Towards a sonic turn in consumer research." Marketing Theory 19, no. 2 (July 15, 2018): 105–27. http://dx.doi.org/10.1177/1470593118787583.
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In seeking to orient consumer research towards the sonic, this article has three objectives. First, to chart the emergence of the ‘sonic turn’ in the social sciences and, relatedly, to register the echoes of such a turn in consumer research. Second, to draw together the implications of this turn for the ontological, epistemological and methodological foundations of consumer research as a culturally framed social science. Third, to tease out the potential impact of the turn to sound in an intellectual context that remains relatively silent, by addressing the question: what does it mean to listen to consumption? We conclude that the sonic turn does not simply present a set of new objects for enquiry but rather offers a fresh analytical lens that provides a non-linguistic means of appreciating consumption. Such a move opens up the space for new, alternative and disruptive ways of thinking about and doing consumer research.
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Henriques, J. Tomás, Sofia Cavaco, and Nuno Correia. "See-Through-Sound." Journal of Information Technology Research 7, no. 1 (January 2014): 59–77. http://dx.doi.org/10.4018/jitr.2014010105.
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See-Through-Sound is a research project that is aimed at creating an innovative solution for mapping visual information into the auditory realm, enabling a spatial environment and its unique features to be described as organized sonic events. Of particular interest to us has been the creation of a tool for people with vision disabilities to help them perceive and recognize objects and features of their environment through sonic representations of light, color and shapes. Applications for sighted people have also been explored as sonification methods for monitoring changes in color within a broad range of scenarios, as well as advanced motion detection. The benefits and promise of this technology are far reaching; it goes beyond mere medical and scientific applications. Ultimately the main goal of this research project is the attempt to systematize and create a universal vocabulary of sonic events that map visual data into auditory data, both for man and machine use.
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Sorce Keller, Marcello. "Linnaeus, Zoomusicology, Ecomusicology, and the Quest for Meaningful Categories." Musicological Annual 52, no. 2 (December 9, 2016): 163–76. http://dx.doi.org/10.4312/mz.52.2.163-176.
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“Music” is not a scientific term. In the course of time, it has become like a big container, where sonic objects and practices that have nothing in common are put together. It carries so many historical and cultural connotations as to make it unfit for scholarly discourse about the social use of sound.
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Cantrell, Joe. "Timbre of Trash." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 217–29. http://dx.doi.org/10.47060/jaaas.v1i2.116.
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Late capitalist production is highly dependent upon the continuous manufacture of new goods to be brought to market. The idea of obsolescence plays a key role in this process, as more recent commodities replace older, presumably less-effective products. This process is especially prominent in the technological sector, which routinely encourages the deliberate replacement of older devices— even when still functional. Digital audio technologies fall in line with these practices, and are often produced using exploitative labor practices. A serious consideration of these effects poses a difficult question for sonic artists who use electronic and digital equipment in their practice. Specifically, how can sound practitioners begin to account for and push against their tacit contribution to the detrimental effects of obsolescence entailed by the tools of their craft? This article explores this question through the lens of new materialist discourse, which outlines modes of engaging with the physical world that reject the assumption that objects are static. Instead, they employ an understanding of objects as collective agents in constant active assemblage of shared material actions that include the presence of human bodies as part of a continuum of objects within larger systems of capital, labor, and politics. The electronic audio practices of American sonic artists who incorporate obsolete, broken, and discarded objects in their work will act as case studies for this exploration. Their work helps understand possible collaborative implementations of technological audio production that recognize the collective agency involved in their physical and aural production.
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Şahiner, Baris, Sunullah Özbek, Tarik Baykara, and Alpaslan Demirural. "Advanced Layered Composite Structures for Underwater Acoustic Applications." Defence Science Journal 71, no. 1 (February 1, 2021): 87–93. http://dx.doi.org/10.14429/dsj.71.15954.
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The detection of underwater objects is one of the most critical technologies, and there have been constant efforts for developing sophisticated sonar systems in naval warfare. Against such efforts, the countermeasure of hiding underwater vehicles, equipment and weapons is another technological challenge. One of the effective countermeasures against sonic detection for the submarines and other underwater objects, such as naval mines, is to employ composite/hybrid materials to prevent ease of detection. Geometrical forms, shapes and layers, along with the tuning of the acoustical impedance, lead to a considerable decrease of the sonar signals via absorption of the sonic waves. In this study, an original and novel design of multi-layered composite/hybrid structure was developed and underwater acoustic testing procedures of reflection, transmission and scattering were applied in 80 kHz100 kHz frequency range. The findings obtained in this study showed that the multi-layered composite/hybrid materials with porous structure possess much lower values in millivolt than steel plates and might be potential candidates as covering and/or casing materials for underwater mines to reduce the acoustical signature against detection and identification.
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Driscoll, John. "Resonance: From the Architectural to the Microscopic." Leonardo Music Journal 22 (December 2012): 25–33. http://dx.doi.org/10.1162/lmj_a_00088.
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The author's work has focused on the use of acoustical phenomena, as opposed to electronic and computer-based sound synthesis, for sound generation. His approach to sound generation and processing utilizes a number of self-built instruments, including resonant sculptural objects, ultrasonic instruments and robotic rotating loudspeakers. The author illustrates the development and implementation of these instruments for the creation of a sonic architecture.
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Zećo, Maja. "Listening and Recording In Situ: Entanglement in the sociopolitical context of place." Organised Sound 26, no. 2 (August 2021): 284–90. http://dx.doi.org/10.1017/s1355771821000327.
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This article considers the ways in which soundwalking and field recording entangle the listener in a sociopolitical relationship with place. The place is a physical site in which the listener encounters complex sonic sociopolitical factors, shaped not just by the interactions of people but also by involving living and material objects that voice themselves through sound and vibrations. Sets of expectations and personal identities inform listening experiences, in addition to the material-orientated tendencies in the field, deriving from soundscape composition and acousmatic music. Specific sociopolitical examples that inform sonic experiences in diverse listening situations across different geographic regions are used to uncover bias, and some of the preconceptions of listeners. The article argues for a greater reflexivity in regard to the motives that inform our listening, relationship with places and awareness of the widest spectrum of cultural, historic and sociopolitical contexts.
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THULASIDAS, MANOJ. "ARE RADIO SOURCES AND GAMMA RAY BURSTS LUMINAL BOOMS?" International Journal of Modern Physics D 16, no. 06 (June 2007): 983–1000. http://dx.doi.org/10.1142/s0218271807010559.
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The softening of the gamma ray burst (GRB) afterglow bears remarkable similarities to the frequency evolution in a sonic boom. At the front end of the sonic boom cone, the frequency is infinite, much like a GRB. Inside the cone, the frequency rapidly decreases to infrasonic ranges and the sound source appears at two places at the same time, mimicking the double-lobed radio sources. Although a "luminal" boom violates the Lorentz invariance and is therefore forbidden, it is tempting to work out the details and compare them with existing data. This temptation is further enhanced by the observed superluminality in the celestial objects associated with radio sources and some GRBs. In this article, we calculate the temporal and spatial variation of observed frequencies from a hypothetical luminal boom and show remarkable similarity between our calculations and current observations.
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Chung, Andrew J. "Vibration, Difference, and Solidarity in the Anthropocene." Resonance 2, no. 2 (2021): 218–41. http://dx.doi.org/10.1525/res.2021.2.2.218.
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Taking the new materialist and climate change themes of Ashley Fure’s The Force of Things: an Opera for Objects as a departure point, this article examines sound studies’ recent invocations of new materialist philosophy alongside this philosophy's foundational concern toward the Anthropocene ecological crisis. I argue that new materialist sonic thought retraces new materialism’s dubious ethical program by deriving equivalencies of moral standing from logically prior ontological equivalencies of material entities and social actors rooted in their shared capacities to vibrate. Some sonic thought thus amplifies what scholars in Black and Indigenous decolonial critique have exposed as the homogenizing, assimilative character of new materialism’s superficially inclusional and optimistic ontological imaginary, which includes tendencies to obscure the ongoingness of racial inequality and settler-colonial exploitation in favor of theorizing difference as a superfice or illusion. As I argue in a sonic reading of Frantz Fanon’s Black Skin, White Masks, some of new materialism’s favored analytical and ecological terms such as objecthood, vibrationality, and connection to the Earth are also terms through which anti-Blackness, colonial desire, and the universalization of Whiteness have historically been routed. This historical amnesia in new materialism enables its powerfully obfuscating premises. As a result, I argue that new materialist sound studies and philosophy risk amplifying the Anthropocene’s similarly homogenizing rhetorics, which often propound a mythic planetary oneness while concealing racial and colonial climate inequities. If sound studies and the sonic arts are to have illuminating perspectives on the Anthropocene, they must oppose rather than affirm its homogenizing logics.
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Lack, Graham. "Objects of contemplation and artifice of design: Sonic structures in the music of George Benjamin." Tempo, no. 215 (January 2001): 10–14. http://dx.doi.org/10.1017/s0040298200008202.
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The icicle clearly delineated by the opening gesture of the upper strings in George Benjamin's A Mind of Winter is an original notational conceit, achieved by staggering the entries of the first and second violins so that a kind of stalactite is readily discernible on the page. It is the spacing of this cluster of minor seconds inside a defined timbral field and the precision with which the composer accords these, the smallest intervals within chromatic space, a rigorous series of durations, their hard edges rendered diffuse by almost inconsequential glissandi, that allows what might become academicism in the hands of a lesser craftsman to take on such a vibrant sonority. That this symbol of the coldest season is preceded by a percussionist's practically imperceptible roll with soft sticks on a suspended cymbal shows a composer deliberately relying on onomatopoeic devices to conjure up a soundscape percolated by such wintry gusts, themselves ushered in by a brief but telling period of silence that ‘fills’ the first, empty bar.
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Herrmann, Mitchell. "Unsound Phenomenologies: Harrison, Schaeffer and the sound object." Organised Sound 20, no. 3 (November 16, 2015): 300–307. http://dx.doi.org/10.1017/s1355771815000229.
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As Jonty Harrison himself acknowledges, a significant body of acousmatic music exists which has, directly or indirectly, challenged aspects of the Schaefferian theory from which acousmatic music first developed (Harrison 1995). Few pieces, however, have so clearly and deliberately confronted Schaeffer’s notion of the ‘sound object’ as Harrison’sUnsound Objects. Harrison does more than merely reject Schaeffer’s definition of the sound object through the use of expanded compositional strategies. Rather, he both employs Schaeffer’s methodology and subverts it, systematically demonstrating the potential and the limitations of Schaeffer’s epoché and its product, the sound object. The result is what might be aptly termed the ‘unsound object’: a sonic entity which both demonstrates and defies Schaeffer’s ideals, and exemplifies the rich ambiguities which can arise from the compositional exploitation of referentiality and association, in addition to the intrinsic, morphological characteristics emphasised within Schaeffer’s reduced listening. Throughout his engagement with Schaefferian theory, however, Harrison never abandons the fundamental musical radicalism at the heart of Schaeffer’s project: positing ‘concrete sound material’, rather than ‘abstract concept’, as the basis for the language of electroacoustic music (Chion 1983: 37).
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Senoo, Taku, Yuji Yamakawa, Shouren Huang, Keisuke Koyama, Makoto Shimojo, Yoshihiro Watanabe, Leo Miyashita, Masahiro Hirano, Tomohiro Sueishi, and Masatoshi Ishikawa. "Dynamic Intelligent Systems Based on High-Speed Vision." Journal of Robotics and Mechatronics 31, no. 1 (February 20, 2019): 45–56. http://dx.doi.org/10.20965/jrm.2019.p0045.
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This paper presents an overview of the high-speed vision system that the authors have been developing, and its applications. First, examples of high-speed vision are presented, and image-related technologies are described. Next, we describe the use of vision systems to track flying objects at sonic speed. Finally, we present high-speed robotic systems that use high-speed vision for robotic control. Descriptions of the tasks that employ high-speed robots center on manipulation, bipedal running, and human-robot cooperation.
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Anderson, Tim J. "Listening to the Promise of a Better You: Considering the Instructional Record." Leonardo Music Journal 26 (December 2016): 28–31. http://dx.doi.org/10.1162/lmj_a_00963.
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While this article makes explicit connections with forms such as karaoke, it also offers insight into other areas of sonic instruction such as dance, exercise and gaming. More important, it begins to develop an explicit theoretical foothold on questions of record production and reception where the listener is conceived in both the form of the recording and its accompanying narratives by focusing on how many of these instructional objects are designed around specific questions of record production and their accompanying paratextual elements.
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BARBOSA, ALVARO. "Public Sound Objects: a shared environment for networked music practice on the Web." Organised Sound 10, no. 3 (November 29, 2005): 233–42. http://dx.doi.org/10.1017/s135577180500097x.
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The Public Sound Objects (PSOs) project consists of the development of a networked musical system, which is an experimental framework to implement and test new concepts for online music communication. The PSOs project approaches the idea of collaborative musical performances over the Internet by aiming to go beyond the concept of using computer networks as a channel to connect performing spaces. This is achieved by exploring the internet's shared nature in order to provide a public musical space where anonymous users can meet and be found performing in collective sonic art pieces.The system itself is an interface-decoupled musical instrument, in which a remote user interface and a sound processing engine reside with different hosts in an extreme scenario where a user can access the synthesizer from any place in the world using the World Wide Web. Specific software features were implemented in order to reduce the disruptive effects of network latency, such as dynamic adaptation of the musical tempo to communication latency measured in real time and consistent sound panning with the object's behaviour at the graphical user interface.
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CHATTOPADHYAY, INDRANIL, and SANDIP K. CHAKRABARTI. "A COMPARATIVE STUDY OF BONDI-TYPE AND RADIATIVE OUTFLOWS AROUND COMPACT OBJECTS." International Journal of Modern Physics D 09, no. 06 (December 2000): 717–31. http://dx.doi.org/10.1142/s0218271800000670.
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Astrophysical jets are observed to come out with relativistic speed and are extremely collimated. Here we study the effect of momentum deposition by hot photons from the torus like, puffed up inner region of the accretion disc on radial outflows. We calculate the radiative momentum deposition force on the outflows and find that there is a focusing effect. The size of the radiating torus completely determines the location where the radiative force is maximum. We solve the steady state equations of motion of the radial outflow, in Schwarzschild geometry to show that the acceleration achieved is appreciable, when it is compared with Bondi-type outflow. We also show that, the photon momentum deposition force results in bringing the sonic point closer to the black hole thereby resulting in a more energetic outflows as compared to purely thermally driven outflow. Particularly interesting is that in many cases, where bound matters are freed and driven off as outflows after sufficient momentum is deposited.
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Galloway, Kate. "Rewind, revisit, relisten: Transport, spatial displacement and mixtape environments in Small Radios Big Televisions." Soundtrack 11, no. 1 (August 1, 2020): 99–118. http://dx.doi.org/10.1386/ts_00007_1.
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Small Radios Big Televisions (2016) guides the player through a series of abandoned modern factories to locate objects and solve puzzles, including cassette tapes that transport them to virtual locations. Each tape presents a diorama-like environment, ranging from natural environments, including forests and beaches. Throughout Small Radios Big Televisions players must warp and electronically distort music and sounds, magnetizing tapes. These musical disruptions of the tape tracks are a core game mechanic. This article draws on autoethnographic gameplay, material and spatial analysis to investigate how players explore abandoned worlds stored on glitchy analogue cassettes full of visual and sonic noise.
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Prezzi, Jairo A. "TRENDS IN PIPELINE LEAK DETECTION SYSTEMS USING SONIC TECHNOLOGY." International Oil Spill Conference Proceedings 2008, no. 1 (May 1, 2008): 211–15. http://dx.doi.org/10.7901/2169-3358-2008-1-211.
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ABSTRACT Acoustic sensing is a relatively well known method for detecting leaks, particularly in transport pipelines. This methodology is based on the rarefaction phenomenon which occurs around the leak spot as a result of a sudden rupture of the pipe wall. The physical forces involved in the phenomenon generate a pressure disturbance that propagates through the fluid, upstream and downstream the pipe. The key feature behind acoustic technology, when applied to LDS, is the systems capability to monitor pressure disturbances and accurately recognize and pinpoint characteristic “leak waveforms” superimposed on the background noise. This is usually achieved by a combination of mechanical, hardware and software filtering techniques. Although real applications have demonstrated the effectiveness of acoustic technology over a quite broad range of scenarios, it has experienced few innovations along the past years. The relative technological stagnation and the experience achieved in several LDS installations in Brazil, encouraged Aselco, a Brazilian company focused on LDS applications, to invest in developing new strategies around the classical acoustic concept. The R&D project started in early 2006 jointly with NETeF, Thermal and Fluids Engineering Centre, at University of São Paulo at São Carlos. A 1. 2Km pipeline was built at NETeF'S lab in order to simulate leaks under mono or multiphase flow conditions. Among the project goals was the development of a new generation of systems dedicated to leak detection encompassing more elaborated algorithms to identify leak acoustic signatures. The core R&D is still centered on the acoustic concept, but under a different approach such as DSP-Digital Signal Processing, pattern recognition through neural network analysis. Another line of development is toward multivariate systems, which bring together both acoustic and hydraulic modeling algorithms running on the same platform. The experimental data obtained, proposed system architecture and characteristics are hereby discussed. Also, the prospective aspects and application of the new technology are objects of analysis.
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Nicolai, Carsten. "Milch, 2000." Organised Sound 6, no. 3 (December 2001): 201–13. http://dx.doi.org/10.1017/s1355771801003065.
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Milch is taken from Nicolai's first solo exhibition in the UK (shown in 2001) and is a special commission for Milch's industrial space. The minimal installation is a repetition of the same groups of objects four times over. There is a CD and amplifier connected to four 9″ speaker cones by thick coils of black cable. A shallow 2 × 1 m tray containing water is placed on top of the speaker cones and sonic frequencies constantly stretch and bend the water's molecules. The surface shifts from absolute flatness through spirographic swirls to geometric grids, effects which are recorded in a series of photographs hung around the gallery.
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Fischman, Rajmil. "A Manual Actions Expressive System (MAES)." Organised Sound 18, no. 3 (November 12, 2013): 328–45. http://dx.doi.org/10.1017/s1355771813000307.
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This article describes amanual actions expressive system(MAES) which aims to enable music creation and performance using natural hand actions (e.g. hitting virtual objects, or shaking them). Gestures are fully programmable and result from tracking and analysing hand motion and finger bend, potentially allowing performers to concentrate on natural actions from our daily use of the hands (e.g. the physical movement associated with hitting and shaking). Work carried out focused on the development of an approach for the creation of gestures based on intuitive metaphors, their implementation as software for composition and performance, and their realisation within a musical composition through the choice of suitable mappings, sonic materials and processes.
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Riedel, Stefan, and Franz Zotter. "Design, Control, and Evaluation of Mixed-Order, Compact Spherical Loudspeaker Arrays." Computer Music Journal 44, no. 4 (2020): 60–76. http://dx.doi.org/10.1162/comj_a_00581.
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Abstract Beamforming on the icosahedral loudspeaker (IKO), a compact, spherical loudspeaker array, was recently established and investigated as an instrument to produce auditory sculptures (i.e., 3-D sonic imagery) in electroacoustic music. Sound beams in the horizontal plane most effectively and expressively produce auditory objects via lateral reflections on sufficiently close walls and baffles. Can there be 3-D-printable arrays at drastically reduced cost and transducer count, but with similarly strong directivity in the horizontal plane? To find out, we adopt mixed-order Ambisonics schemes to control fewer, and predominantly horizontal, beam patterns, and we propose the 3|9|3 array as a suitable design, with beamforming crossing over to Ambisonics panning at high frequencies. Analytic models and measurements on hardware prototypes permit a comparison between the new design and the IKO regarding beamforming capacity. Moreover, we evaluate our 15-channel 3|9|3 prototype in listening experiments to find out whether the sculptural qualities and auditory object trajectories it produces are comparable to those of the 20-channel IKO.
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Farrell, Natalie. "Sounding the “Spirit of My Silence”." Journal of Popular Music Studies 33, no. 3 (September 1, 2021): 104–24. http://dx.doi.org/10.1525/jpms.2021.33.3.104.
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Sufjan Stevens’s 2015 album Carrie and Lowell threw indie rock fans into collective mourning with its sonic depiction of feeling so much to the point of experiencing an overwhelming affective nothingness. Written as an elegy for Stevens’s mother, the album performs Stevens’s loss by creating a static soundscape punctuated by moments of stark sonic absence. Some moments evoke the emotionally ineffable (rhythmic stutters between phrases), some occupy a sonically liminal space with white noise negating silence, and others are calls to physical action (flipping over the LP) that literally give the listen pause. This paper places an autoethnographic encounter with a Carrie and Lowell pre-release “silent listening party” in conversation with Roland Barthes’s theory of affect and grief as originally developed in Camera Lucida: A Note on Photography. This paper explores the possibility that Barthes’s theory offers an infrastructure for approaching affect and musical listening by highlighting the ways in which the individual functions as an affective archive, navigating culturally-coded and pre-cognitive physiological responses to aesthetic objects. Drawing upon Elizabeth Hellmuth Margulis’s work on structured silences, this paper argues that moments of foregrounded silence in Carrie and Lowell provide musical analogies for Barthes’s punctum of time and death.
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Jędruszczak, Maria. "The development of weeds sugar beet (Beta vulgaris L.) fields depending on the weeding method used." Acta Agrobotanica 43, no. 1-2 (2013): 173–82. http://dx.doi.org/10.5586/aa.1990.014.
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The process of weed development in a sugar beet field was followed under the climatic conditions of mideastern Poland in 1977. The sugar beet was cultivated on loess soil and weeded using two methods: mechanical and chemical (Pyramin 5 kg/ha just after sowing). The results of the study revealed a specific developmental rythm of the particular weed species on each of the weeded objects. The lise of the herbicide delayed the germination of weeds and limited their repeatability, eliminated sonic species from the weed community as well as delaying the start of generative development of some weeds. It also decreased the participation of the fruit and seed shedding phase of the weeds before harvest of the cultivated crop.
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Vyas, Mukesh K., and Indranil Chattopadhyay. "Radiatively driven relativistic jets in Schwarzschild space-time." Astronomy & Astrophysics 614 (June 2018): A51. http://dx.doi.org/10.1051/0004-6361/201731830.
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Context. Aims. We carry out a general relativistic study of radiatively driven conical fluid jets around non-rotating black holes and investigate the effects and significance of radiative acceleration, as well as radiation drag. Methods. We apply relativistic equations of motion in curved space-time around a Schwarzschild black hole for axis-symmetric one-dimensional jet in steady state, plying through the radiation field of the accretion disc. Radiative moments are computed using information of curved space-time. Slopes of physical variables at the sonic points are found using L’Hôpital’s rule and employing Runge-Kutta’s fourth order method to solve equations of motion. The analysis is carried out using the relativistic equation of state of the jet fluid. Results. The terminal speed of the jet depends on how much thermal energy is converted into jet momentum and how much radiation momentum is deposited onto the jet. Many classes of jet solutions with single sonic points, multiple sonic points, as well as those having radiation driven internal shocks are obtained. Variation of all flow variables along the jet-axis has been studied. Highly energetic electron-proton jets can be accelerated by intense radiation to terminal Lorentz factors γT ~ 3. Moderate terminal speed vT ~ 0.5 is obtained for moderately luminous discs. Lepton dominated jets may achieve γT ~ 10. Conclusions. Thermal driving of the jet itself and radiation driving by accretion disc photons produce a wide-ranging jet solutions starting from moderately strong jets to the relativistic ones. Interplay of intensity, the nature of the radiation field, and the energetics of the jet result in a variety of jet solutions. We show that radiation field is able to induce steady shocks in jets, one of the criteria to explain high-energy power-law emission observed in spectra of some of the astrophysical objects.
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Spain, Martin, and Richard Polfreman. "Interpolator: a two-dimensional graphical interpolation system for the simultaneous control of digital signal processing parameters." Organised Sound 6, no. 2 (August 2001): 147–51. http://dx.doi.org/10.1017/s1355771801002114.
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The musical use of realtime digital audio tools implies the need for simultaneous control of a large number of parameters to achieve the desired sonic results. Often it is also necessary to be able to navigate between certain parameter configurations in an easy and intuitive way, rather than to precisely define the evolution of the values for each parameter. Graphical interpolation systems (GIS) provide this level of control by allocating objects within a visual control space to sets of parameters that are to be controlled, and using a moving cursor to change the parameter values according to its current position within the control space. This paper describes Interpolator, a two-dimensional interpolation system for controlling digital signal processing (DSP) parameters in real time.
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Fowler, Kent D., Örjan Sandred, and Autumn Whiteway. "Acoustic perceptions of vessel fitness in southern Africa." Journal of Material Culture 22, no. 3 (April 17, 2017): 261–80. http://dx.doi.org/10.1177/1359183517701301.
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The acoustic properties of objects found in archaeological contexts have seen little attention because they are seldom found intact. Nevertheless, sound is quality of objects that is of tremendous significance during both their manufacture and use. In this article, the authors examine how the acoustic properties of ceramic vessels influence the perception of their fitness for use. Grounded in how sound cues correlate to visual, tactile and olfactory measures of vessel fitness in an ethnographic context, they focus on detecting perceptible sonic differences between damaged and undamaged vessels produced by Zulu and Swazi potters in southern Africa. The article demonstrates how sound is a key quality of vessel ‘strength’ that both potters and clientele use to gauge functional and social suitability. We show that studies of fabric characteristics, such as fissures and voids, in addition to fabric composition provide a means to infer the acoustic properties of archaeological pottery and evaluate the significance of sound in past valuations of vessel fitness. Archaeological discussions of materiality can explore how social valuations of vessel fitness are accessible through studies of the functional properties of ceramics that consider human sensory experience.
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Romashets, E., M. Vandas, and S. Poedts. "Magnetic field disturbances in the sheath region of a super-sonic interplanetary magnetic cloud." Annales Geophysicae 26, no. 10 (October 15, 2008): 3153–58. http://dx.doi.org/10.5194/angeo-26-3153-2008.
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Abstract. It is well-known that interplanetary magnetic clouds can cause strong geomagnetic storms due to the high magnetic field magnitude in their interior, especially if there is a large negative Bz component present. In addition, the magnetic disturbances around such objects can play an important role in their "geo-effectiveness". On the other hand, the magnetic and flow fields in the CME sheath region in front of the body and in the rear of the cloud are important for understanding both the dynamics and the evolution of the interplanetary cloud. The "eventual" aim of this work is to calculate the magnetic field in this CME sheath region in order to evaluate the possible geo-efficiency of the cloud in terms of the maximum |Bz|-component in this region. In this paper we assess the potential of this approach by introducing a model with a simplified geometry. We describe the magnetic field between the CME shock surface and the cloud's boundary by means of a vector potential. We also apply our model and present the magnetic field distribution in the CME sheath region in front of the body and in the rear of the cloud formed after the event of 20 November 2003.
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Waeber, Jacqueline. "What’s in a song: the case of Christopher Nolan’s Inception." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 44–63. http://dx.doi.org/10.7146/se.v3i1-2.15639.
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Overblown cinematography and excess of visual attraction are the key features in Christopher Nolan’s Inception (UK/USA, 2010), a film that eventually exhausts itself in its numerous tours de force. Yet, Inception’s multi-levelled phantasmagoria cannot escape to the mere materiality of the objects that regularly invade its cinematic space, and that are invoked for what they simply are: things. Throughout the film, their fastidious presence points towards a desire that Kracauer has identified as an “urge for concretion.” Not only does it provide a restraining counterpoint to the film’s constant negotiation of dream-like spaces, but it also mirrors one of cinema’s most enduring concerns: the obsession with the representation of the dense materiality of things.In Inception, one of these things — indeed, the most important of all — is not an object defined by its tactile materiality, but the fragment of a song: Edith Piaf’s 1960 recording of “Non, je ne regrette rien.” In this essay, I argue that Inception privileges a haptic treatment of this aural fragment in order to present the song as thing. While this song may be replete with pre-existing connotations that could potentially impact on the audience’s perception, its reduction to a brief fragment renders the meaning of its inter-textual potentialities illegible, but also singles out its sonic fabric in the aural foreground. Thus the paradoxical choice of a “vintage” recording that literally clashes with the glossy artificiality of the visual treatment (from objects to actors themselves). Although located at the purely aural level, the song fragment nevertheless resonates with Nolan’s well-known claim to anchor his visual effects in “real life” by giving them a “realistic style of patina”.
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Ahmed, Anwer Sabah, Heyam A. Marzog, and Laith Ali Abdul-Rahaim. "Design and implement of robotic arm and control of moving via IoT with Arduino ESP32." International Journal of Electrical and Computer Engineering (IJECE) 11, no. 5 (October 1, 2021): 3924. http://dx.doi.org/10.11591/ijece.v11i5.pp3924-3933.
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Every day, the technologies are expanding and developed with extra things to them. A cloud computing (CC) and Internet of things (IoT) became deeply associated with technologies of the internet of future with one supply the other a way helping it for the successful. Arduino microcontroller is used to design robotic arm to pick and place the objects by the web page commands that can be used in many industrials. It can pick and place an object from source to destination and drive the screws in into its position safely. The robot arm is controlled using web page designed by (html) language which contain the dashboard that give the commands to move the servos in the desired angle to get the aimed direction accordingly. At the receiver end there are four servo motors which are made to be interfaced with the micro controller (Arduino) which is connected to the wireless network router. One of these is for the arm horizontally movement and two for arm knee, while the fourth is for catch tings or tight movement. Two ultra-sonic sensors are used for limiting the operation area of the robotic arm. Finally, Proteus program is used for the simulation the controlling of robot before the hardware installation
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Reynolds, David S. "Deformance, Performativity, Posthumanism." Nineteenth-Century Literature 70, no. 1 (June 1, 2015): 36–64. http://dx.doi.org/10.1525/ncl.2015.70.1.36.
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David S. Reynolds, “Deformance, Performativity, Posthumanism: The Subversive Style and Radical Politics of George Lippard’s The Quaker City” (pp. 36–64) The most interesting American example of the genre known as city-mysteries fiction, George Lippard’s The Quaker City (1844–45), while rich in characters, stymies the novelistic stability conventionally provided by the struggles of heroes against villains in the mystery genre. Lippard’s style thus gets foregrounded as the locus of morality and politics, displaying an acerbic, presurrealistic edge. The current essay surveys linguistic and generic deformations (alinear narrative, irony and parody, bizarre tropes, performativity, and periperformativity) and biological and material deformations (posthuman images, including animals, objects, sonic effects, and vibrant matter) in The Quaker City to suggest how Lippard stylistically reinforces his goal of satirizing literary and social conventions and of exposing what he regards as hypocrisy and corruption on the part of America’s ruling class.
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Armstrong, Stephen. "Sounding the Grind." Journal of Sound and Music in Games 2, no. 2 (2021): 1–21. http://dx.doi.org/10.1525/jsmg.2021.2.2.1.
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Battles in Japanese role-playing games (JRPGs) present special problems for game immersion because of their sheer ubiquity and repetitiveness. This is particularly true of games that require the player to “grind”—that is, to engage in repetitive fights in order to level-up characters and thereby gain tactical advantages later. This paper argues that battle music is first and foremost a variety of functional music, a genre that fans measure not by its sonic beauty but by its psychological effectiveness. This point leads directly to a number of pressing questions: How do battle themes function? How do these functions relate to the all-important concerns of immersion and interactivity? How do we evaluate the effectiveness of battle music? And finally, what would a preliminary theory of battle music composition look like? This article examines how the grind of JRPG fighting manifests as an integral part of battle music composition, analyzing three standard conventions in detail: (1) a clear opening audiovisual rupture, (2) a fanfare as cadence, and (3) a sustained period of harmonic stasis underpinning busy surface textures. This last phenomenon creates a sense of “musicospatial stasis”—that is, a musically induced sense of stasis that intermingles with and projects itself onto the visual and narrative fields. Because the repetitive grind of JRPG battles interrupts movement through the overworld, battle themes should be understood as ruptures in the sonic environment, just as the battle stage is a spatial rupture in the overworld. Battle themes therefore make little sense as analytical objects out of context: by definition, they signal a break that impedes the player’s movement throughout a larger environment.
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Chakrabarti, Sandip K., D. Ryu, D. Molteni, H. Sponholz, G. Lanzafame, and G. Eggum. "Numerical Simulations of Advective Flows Around Black Holes." International Astronomical Union Colloquium 163 (1997): 690–91. http://dx.doi.org/10.1017/s025292110004344x.
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Observational results of compact objects are best understood using advective accretion flows (Chakrabarti, 1996, 1997). We present here the results of numerical simulations of all possible types of such flows.Two parameter (specific energy ε and specific angular momentum λ) space of solutions of inviscid advective flow is classified into ‘SA’ (shocks in accretion), ‘NSA’ (no shock in accretion), ‘I’ (inner sonic point only), ‘O’ (outer sonic point only) etc. (Fig. 1 of Chakrabarti, 1997 and references therein). Fig. 1a shows examples of solutions (Molteni, Ryu & Chakrabarti, 1996; Eggum, in preparation) from ‘SA’, ‘I’ and ‘O’ regions where we superpose analytical (solid) and numerical simulations (short dashed curve is with SPH code and medium dashed curve is with TVD code; very long dashed curve is with explicit/implicit code). The agreement is excellent. In presence of cooling effects, shocks from ‘SA’ oscillate (Fig. 1b) when the cooling timescale roughly agrees with postshock infall time scale (Molteni, Sponholz & Chakrabarti, 1996). The solid, long dashed and short dashed curves are drawn for T1/2 (bremsstrahlung), T0.4 and T0.75 cooling laws respectively. In the absence of steady shock solutions, shocks for parameters from ‘NSA’ oscillate (Fig. 2) even in the absence of viscosity (Ryu et al. 1997). The oscillation frequency and amplitude roughly agree with those of quasi-periodic oscillation of black hole candidates. When the flow starts from a cool Keplerian disk, it simply becomes sub-Keplerian before it enters through the horizon. Fig. 3a shows this behaviour where the ratio of λ/λKeplerian is plotted. When the flow deviates from a hot Keplerian disk, it may develop a standing shock as well (Fig. 3b) (Molteni et al. 1996).
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Vallee, Mickey. "The Science of Listening in Bioacoustics Research: Sensing the Animals' Sounds." Theory, Culture & Society 35, no. 2 (August 31, 2017): 47–65. http://dx.doi.org/10.1177/0263276417727059.
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Bioacoustics is an interdisciplinary field bridging biological and acoustic sciences, which uses sound technologies to record, preserve, and analyse large datasets of animal communications. But it is also a world, made of the meanings created through inter- and intra-species communication. This article empirically explores a variety of bioacoustics research, including interviews with researchers, as part of a broader qualitative study, in order to theorize the expanding sense and sensation of a global biosphere and sonic data. By giving a sustained and detailed account of the science of bioacoustics, particularly how its modes of measurement allow for a new way of understanding what is involved in the de-centred modes of hearing that re-centre acts of listening and, by extension, the nature of the relation between researcher and researched, the article contributes to methodological discussions regarding the longstanding questions of how researchers and scientists are implicated in the knowledge and objects they collectively produce.
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Huo, Jianjian, Binzhong Zhou, Qing Zhao, Iain M. Mason, and Ying Rao. "Migration-based filtering: Applications to geophysical imaging data." GEOPHYSICS 84, no. 4 (July 1, 2019): S219—S228. http://dx.doi.org/10.1190/geo2018-0703.1.
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Migration is used to collapse “diffractions,” i.e., to focus hyperbolic events that appear in the space-time of a seismic profile — into spots of finite area in the image space. These usually represent scattering objects. However, there are situations in which some of the energy can be focused by migration, and muted without significantly damaging the remaining echoes. Demigration or forward modeling then restores the remaining data, and the removed signals can be rebuilt by subtracting these restored data from the original records. This process can be classified as migration-based filtering. It is demonstrated by synthetic and field data that this filter can be used for suppressing unwanted coherent signals or separating/extracting wavefields of interest: (1) the suppression of ground roll in seismic shot gathers, (2) the suppression of axially guided arrivals in borehole radar profiles, (3) suppressing the direct arrivals to enhance Stoneley-wave reflections in full-waveform sonic logging data, and (4) separating up- and downgoing waves in vertical seismic profiles.
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Hagan, Kerry L. "Textural Composition: Aesthetics, Techniques, and Spatialization for High-Density Loudspeaker Arrays." Computer Music Journal 41, no. 1 (March 2017): 34–45. http://dx.doi.org/10.1162/comj_a_00395.
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This article documents a personal journey of compositional practice that led to the necessity for working with high-density loudspeaker arrays (HDLAs). I work with textural composition, an approach to composing real-time computer music arising from acousmatic and stochastic principles in the form of a sound metaobject. Textural composition depends upon highly mobile sounds without the need for trajectory-based spatialization procedures. In this regard, textural composition is an intermediary aesthetic—between “tape music” and real-time computer music, between sound objects and soundscape, and between point-source and trajectory-based, mimetic spatialization. I begin with the aesthetics of textural composition, including the musical and sonic spaces it needs to inhabit. I then detail the techniques I use to create textures for this purpose. I follow with the spatialization technique I devised that supports the aesthetic requirements. Finally, I finish with an example of an exception to my techniques, one where computational requirements and the HDLA required me to create a textural composition without my real-time strategies.
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Xie, Yong Gang, Jian Bing Chen, Gai Jing Huangfu, and Hai Yang. "Sonic Wave Band Gaps in Two-Dimensional Phononic Crystals Consisting of Hollow Mercury Columns Immersed in a Water Host, and Arranged in Simple Lattices." Advanced Materials Research 875-877 (February 2014): 512–17. http://dx.doi.org/10.4028/www.scientific.net/amr.875-877.512.
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In this paper, band gaps for two-dimensional phononic crystals consisting of hollow square water columns immersed in a mercury host are investigated by plane-wave-expansion (PWE) method, in which cross sections of the scattering objects are hollow-square and hollow water columns are arranged in simple lattices (square, and triangular lattices). In order to regulate band gaps, we alter inner side lengths of hollow-square column, and change the filling ratio at the same time. From the results, It can be found that the band gap width and the number of the bad gaps can be changed by lattice shapes and corresponding filling fraction. This could be very useful in the design of phononic crystals band gaps and frequency filtering.
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Gayou, Évelyne. "The GRM: landmarks on a historic route." Organised Sound 12, no. 3 (November 30, 2007): 203–11. http://dx.doi.org/10.1017/s1355771807001938.
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AbstractThe year 1958 witnessed the birth of the institution GRM, nurtured by the French Radio and Television service (RTF). However, the fifty years of the GRM cannot be dissociated from the preceding period, datable from 1942, when Pierre Schaeffer began experiments with radiophonic sound which led him to musique concrète while bringing into existence the institutional infrastructure of the group. We can therefore see the Studio d'Essai (1942–46), the Club d'Essai (1946–60) with its Groupe de Recherche de Musique Concrète (GRMC, 1951–58) as forebears of the GRM. The fundamental principle, which lies in working with sonic material directly on the recording media through a precise listening to recorded elements, led Schaeffer to affirm that there is another way to access music other than from notation.He used this powerful idea as the fixed point on the compass for all his research. Linked from its origins to the broadcasting services – RTF until 1964, ORTF up to 1974, then INA ever since – the GRM has constantly adapted its theories and its ideas to successive technological developments: smooth disks (shellac records), magnetic tape, computer memory. A fruitful period at the Service de la Recherche (1960–75) allowed Schaeffer and his team to systematically examine the world of sounds from their own listening experience. The Traité des Objets Musicaux (Treatise of Musical Objects) bears witness to this research. Since 1975 another adventure has been under way: that of the preservation and making available of works and discoveries gathered over the years – an exceptional heritage which continues to grow and interest an ever larger public.