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Academic literature on the topic 'Sonic Spaces'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Sonic Spaces"

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Marry, Solène. "Assessment of Urban Soundscapes." Organised Sound 16, no. 3 (November 15, 2011): 245–55. http://dx.doi.org/10.1017/s1355771811000252.

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This article presents the different tools for assessing soundscapes within urban public spaces and develops in particular the use of the sonic mind map. We will successively define the notions of sonic perception and representation, and sonic and spatial evaluation; we will approach the concept of soundscape and finally give details about the sonic mind-map tool. Through this tool, the soundscape of urban public spaces can be understood, not through speech analysis, but through spatial representations of memorised sonic ambiances.Investigation results based among other things on sonic mind-map analyses explain the significance of sonic spatialisation and of the sound source distance in urban soundscape assessment. Using the sonic mind map to analyse the sonic representations associated with certain urban spaces seems to be relevant for researchers in space sciences or even for urban planners.
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Bellia, Angela. "Towards a Digital Approach to the Listening to Ancient Places." Heritage 4, no. 3 (September 15, 2021): 2470–81. http://dx.doi.org/10.3390/heritage4030139.

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This paper aims to investigate digital heritage and acoustical techniques for exploring sonic heritage of archaeological sites and performative spaces. Through the analysis of case studies in Greece and in Italy, this paper intends to highlight a new approach to the development of the relationship between space, sound, and environment and a novel method in deciphering the sonic heritage of ancient spaces thanks to digital technology.
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Odland, Bruce, and Sam Auinger. "Reflections on the Sonic Commons." Leonardo Music Journal 19 (December 2009): 63–68. http://dx.doi.org/10.1162/lmj.2009.19.63.

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MARRY, Solène. "Ordinary sonic public space. Sound perception parameters in urban public spaces and sonic representations associated with urban forms." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 171–96. http://dx.doi.org/10.7146/se.v2i1.5231.

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The research referred to in the article concerns the factors influencing the perception of ordinary sonic public space and everyday sounds. Sound perception parameters, such as vegetation or sound sources, are analysed in urban public spaces. This research, which is based on my PhD project, tries to understand how urban people perceive their sonic environment and try to contribute to sonic ambiance knowledge. The research is based on a qualitative investigation conducted among 29 people. It is, on the one hand, based on questionnaires and focus groups in situ and, on the other hand, on individual interviews (in-depth interviews, sonic mind maps), and it illustrates different parameters (temporal, spatial, sensitive and individual) that influence a person’s assessment of the sound environment. This qualitative investigation is correlated with acoustic measures in two seasons. The results show, among other things, the impact of vegetation and urban fittings on sonic perception, and they underline the influence of city planning and urban fittings on sound perception in public urban spaces.
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Traperas, Dimitrios, Andreas Floros, and Nikolaos Kanellopoulos. "Sonic representations in hyper-spaces: A creative approach." Technoetic Arts 15, no. 2 (June 1, 2017): 221–28. http://dx.doi.org/10.1386/tear.15.2.221_1.

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Otondo, Felipe. "Creating Sonic Spaces: An Interview with Natasha Barrett." Computer Music Journal 31, no. 2 (June 2007): 10–19. http://dx.doi.org/10.1162/comj.2007.31.2.10.

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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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Emmerson, Simon. "New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art." Organised Sound 6, no. 2 (August 2001): 103–5. http://dx.doi.org/10.1017/s1355771801002047.

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The author has written articles and papers on the possibilities of differentiated spaces in the composition of electroacoustic music (Emmerson 1994, 1998). He extends this into a more practical discussion on the spaces used for the presentation of electroacoustic music (acousmatic music and ‘live electronic’ music), sound installations and other sonic art. The move into more informal ‘club’ environments is not without controversy. The ‘sampling’ approach to the very act of listening and ‘consuming’ sonic art has challenged traditional concert hall presentation. This paper brings various possibilities into plans (at once conceptual but also intended to have practical application) for a multi-space ‘Sound House’: a centre for the performance of the sonic arts. This centre is socially embedded within interpersonal human interaction and is not to be found in the current performance possibilities of the Internet – though it may be connected to others of its kind through this means.
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van der Heide, Edwin. "Radioscape: Into Electromagnetic Space." Leonardo Music Journal 23 (December 2013): 15–16. http://dx.doi.org/10.1162/lmj_a_00143.

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Kerr, David. "Experiments in sound: generating sonic landscapes in online spaces." Journal of African Cultural Studies 32, no. 1 (May 30, 2019): 24–41. http://dx.doi.org/10.1080/13696815.2019.1615419.

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Dissertations / Theses on the topic "Sonic Spaces"

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Kisic, Nicolás. "Sonic Spaces : technological access to dominance and resistance." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118712.

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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2018.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 59-61).
The sonic space can be qualified as a highly relevant layer or dimension to a political notion of public space. The material in use to claim or occupy the sonic space is sound, whose emission or reception by humans largely depends either on biological features or technological resources. Since mostly all humans are provided with equal sonic biological features, it is in the realm of sound technologies where difference appears. Whoever has access to specific sound technologies is able to claim the sonic space in particular ways beyond biological possibilities. If access to sound technologies is restricted, the possibility to claim certain areas of the sonic space will also be restricted. This risks the public and democratic qualities of the sonic space, and leads to its possible partial privatization and control. Artistic production, although far from providing a solution, can play an essential role in addressing this problem. This thesis studies the definitions and connections between public space, sound, technology, anthropology and art. This thesis is produced with the purpose to act as a theoretical framework of the artwork produced by the author in resonance with its claims.
by Nicolás Kisic Aguirre.
S.M. in Art, Culture and Technology
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Papadomanolaki, Maria Eftychia. "Sonic perceptual ecologies : strategies for sound-based exploration, perception and composition in spaces of transient encounters." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12056/.

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This thesis contributes a novel, cross-disciplinary framework to the field of sound studies. It examines how our inherent capacities as listeners are manifested in transitional urban environments, and the primary role of voice as a vehicle for perception in field recording and soundwalking practices. Using the conceptual triad of ‘node, counter-atmosphere and meshwork’ as its analytical device, this research considers the polyphonic physical, personal and social ecologies at play in our encounters within transitional spaces. By doing so, it highlights the importance of sound for countering their functionality and opening them up to a more engaged perception. In its theoretical scope, this conceptual triad draws on and re-contextualises existing terminologies from a variety of disciplines: urban planning and Kevin Lynch’s notion of the node; philosophy and Gernot Boehme’s theory on the atmosphere as well as Gaston Bachelard’s concept of seeping through; anthropology and Tim Ingold’s idea of the meshwork. Coined as a sonic perceptual ecology, this triad is a new analytical tool that is the immediate result of the practice developed as part of this research. Involving three consecutive stages, the work spans across intensive fieldwork, workshops, hybrid telematic soundwalks, radioart pieces, public events and performances engaging with different sites in London and elsewhere. This thesis presents a constellation of original outputs, essential to creating and understanding the novel conceptual framework of the sonic perceptual ecology. This is achieved by testing new methodologies, by analysing, in new terms and through the Sensing Cities interviews series, existing creative work and by developing a portfolio of practice that has been presented as part of commissions, conferences and curated events. Key to these activities is the proposition that we perceive not as authoritative presences but as organisms whose voice is, as Mikhail Bakhtin would suggest, a chain of human and non-human utterances.
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Baker, John C. "Natural audiotopias : the construction of sonic space in dub reggae." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002916.

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Baker, John. "Natural Audiotopias: The Construction Of Sonic Space In Dub Reggae." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/1842.

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Dub reggae is widely regarded as an early form of the remix. Dub artists modify previously recorded reggae songs by manipulating a song's individual tracks with a mixing board and layering them in aural effects such as reverb and echo. These effects are fundamentally spatial in quality, giving the listener an impression of vast open space. This paper is an analysis of the techniques utilized in dub's construction of sonic space as well as an investigation of the cultural meaning of those spaces. My analysis utilizes Josh Kun's theories about "audiotopias" (temporary aural spaces created through music) in order to study how sonic spaces create "new maps" that allow an individual to analyze their current social predicament. These "new maps," therefore, engender a "remapping" of reality, a reconstitutive process that parallels dub's emphasis on modification and alteration. This paper also argues that dub's audiotopias are implicitly natural, although they are constructed through modern recording technologies such as the echo chamber and the reverb unit. A final chapter applies these analytical techniques to one of dub's most popular musical offspring, hip hop.
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Barakat, Merate Abdallah. "Sonic urban morphologies : towards modelling aural spatial patterns for urban space designer." Thesis, Open University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.700485.

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Every urban space has a unique aural signature and is part of a hierarchical meta-system of acoustic spaces. The aural signature is a result of the distribution of sonic events within a space that create an aggregate of acoustic spaces at different scales, ultimately creating a sound environment. Evidence suggests that fidelity of aural stimuli is a significant parameter in creating an accurate spatial mental map of the surrounding environment. The field that is concerned with the acoustic qualities of urban spaces is the interdisciplinary field of Soundscape. Soundscape, as a field and a term, was originally defined as a relationship between the human ear, sonic environment and society, and was intended to be an integral part of urban design. The concept is based on physical parameters as well as on the perceptual and cognitive restrictions. Until recently, the focus of the majority of soundscape design practice is the documentation and preservation of the urban sounds through audio recordings, and this has largely remained within the conceptual realm of music studios. As psychologists and acoustic engineers became more interested in soundscape research, the consideration of sound quality has gained traction. However, the analysis is heavily based on emotional response to soundscape audio tracks in laboratories. Urban spaces have long been designed primarily through three-dimensional geometrical procedures that are presented and evaluated visually. Although the field of soundscape was originally intended as a paradigm-shift for urban design, the sound phenomena have remained a secondary design aspect. The process of designing the aural spatial signature of urban open spaces has not yet been made readily accessible to the designer in modes that align with architectural design procedures. This is because spatial designers (architects, urban and event designers) lack adequate design concepts, metrics and tools to integrate acoustic sensory aspects into the design process of urban spaces. A relatively new adjunct theory was developed to relate sound (scape) to spatial design, namely Aural Architecture. There is another new epistemological field that addresses the spatiotemporal formation of sound domains, namely Soundscape Ecology. Although these theories offer spatial concepts, these intersecting theories have not yet been integrated into architectural and urban design practices. This research seeks to create a tool that integrates the theoretical spatial and soundscape design concepts, to aid spatial designers when considering sound as a design driver for urban design. The investigation is founded on establishing a relationship between aural architecture theories and the urban spatial experience and design. It also explores the merging of spatial and acoustical computational approaches, through integrating the physical/mathematical representation of sound to the mapping of the spatial envelopes and phenomena of human aural responses. The key design-based contribution is the development and calibration of a computational design and decision-aiding tool that can predict qualitative patterns of aural spatial perception, and translate them into spatial attributes within a modelled urban space. The fields of computation simulation, soundscape, and psychoacoustics inform the structure of the tool, the input parameters, and the testing and validation processes this research adopts. The merging of these concepts and processes are the knowledgebased contribution this research offers to the field of architecture.
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Forcucci, Luca. "Mapping dynamic relations in sound and space perception." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11450.

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The research investigates the dynamic relations between sound, space and the audience perception as related to an artist’s intention. What is the relation between sound and space in the sonic arts, and to what kind of merger does it lead? What relationship exists between the intention of the composer and the perception of the audience regarding architectural and environmental spaces? Is there a common thread of perception of architectural and environmental spaces among participants? Is embodiment a key for the perception of the dynamic relations of sound and space? The framework for the investigation is based on a map of three defined spaces (Real, Virtual, and Hyperbiological) included in a portfolio of six works (three electroacoustic compositions, two sound installations, and one performance), which lead to the analysis of the perception of space, namely, the perception of architectural and environmental spaces as required by the portfolio. The original knowledge resides in the exploration of a potential common representation (space and sound perception being, of course, a personal representation) of internal perceptual spaces and mental imageries generated by the works. The act of listening plays a major role in the development of the portfolio presented and includes Pauline Oliveros’ concept of deep listening (Oliveros 2005). Sound and space are intimately related in the portfolio. One particular element emerging from this relationship is the plastic quality of sound, meaning that sound is considered and observed as a material that is shaped by space. From this perspective the research investigates the ‘sculptural’ and morphological quality of the relationship between sound and space. The results include the specific language and signature of the artworks that delineate the intersection of music and fine arts. The portfolio pays a large tribute to several iconic artists present in the outposts of sound blurred by space. Composers and artists are therefore presented in the theoretical section in order to highlight how their pioneering works have influenced and informed the present research portfolio. The analysis of the perception of the artworks relates to a methodology based on an empirical survey inspired by phenomenology.
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Hawkins, Ruth. "The smooth space of field recording : four projects - sonic interactions, double recordings, 'dense boogie' and 'for the birds'." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9610/.

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This practice/theory PhD focuses on four projects that evolved from a wider field recording practice. Rather than treating individual recordings as isolated objects, each of the projects was concerned with the ways in which ‘straight’ field recordings become implicated with both other instances and genres of recording and real-world environments. The dissertation and projects attempt to reconcile, what has been depicted within the acoustic ecology movement as, the detrimental effects of ‘millions’ of recording productions and playbacks on individuals and global environments, by exploring alternative conceptions of environmental recorded sound. This is partly achieved through developing a distinctive account of field recordings that links these to haptic expressions of spatiality and perception, from a range of sources. Amongst these, concepts of ‘acoustic’ (Marshall Mcluhan) and ‘smooth’ spaces (Gilles Deleuze and Félix Guattari), are compared to depictions of environmental recorded sound, from key figures in acoustic ecology (including R. Murray Schafer; Hildegard Westerkamp). Haptic spaces are introduced through discourses that relate the playback of recordings to the figure of modulation; that also connect private listeners to public environmental musics. Multiple and repeated instances of recording are then linked to resonant, liminal and simulacral depictions of recorded sound. These are significantly drawn from discourses of influential ‘ambient’ musics; and accounts of field recording that focus on their content, rather than original production. These concerns are practically explored through environmental and mimetic strategies of recording. The projects mainly focus on ambient background recordings and appropriated or much repeated subjects of field recording. The critical effect of these is largely produced during playback: using software applications that change this in some way, or by diffusing multiple recordings simultaneously in a sound installation. The projects attempt to realise ‘smooth’ productions of field recordings; that are able to relate different sonorous and non-sonorous forces together. Please note that parts of the electronic thesis - including some audio tracks on DVD I and all of DVD II - are redacted or otherwise not available online.
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Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16631/1/Maria_Adriana_Verdaasdonk_Thesis.pdf.

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Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
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Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16631/.

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Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
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Marry, Solène. "L'espace public sonore ordinaire : les paramètres de la perception sonore dans les espaces publics : contribution à une connaissance de l'ambiance sonore." Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENH008/document.

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La particularité et l'enjeu du sujet de recherche résident dans la confrontation entre vision urbanistique de l'espace public, approche physique de la mesure acoustique et prise en compte de la perception de l'environnement sonore. Notre étude de l'évaluation d'ambiances sonores urbaines a pour terrain plusieurs espaces publics. Nous problématisons notre réflexion autour de l'appréhension de la perception sonore et de son évaluation en vue d'en souligner certains paramètres influents. La méthodologie est élaborée dans le but de coupler données perceptives et mesures physiques. Ainsi, une première étape d'enquête in situ aboutit à un corpus composé de 174 questionnaires, 513 photographies et 18 entretiens non directifs de groupe. Puis des mesures acoustiques sont pratiquées aux mêmes temporalités. Enfin, une seconde étape d'entretiens individuels approfondis menés avec les 29 participants est complétée par la réalisation de 145 cartes mentales sonores. Cette méthodologie multi-facettes permet de déterminer l'influence de divers paramètres tels que la présence humaine, la naturalité, la minéralité, la saisonnalité et les formes urbaines sur l'évaluation spatiale et sonore au sein d'espaces publics
The particularity and challenge of this research subject lie in the confrontation between the urbanistic vision of the public space, the physical approach to acoustic measurement and the consideration of how the sonic environment is perceived. Several types of public spaces were used to study the assessment of urban sonic ambiances. We problematize our study of the understanding and assessment of sound perception in order to highlight some of its relevant parameters. The methodology was designed to combine perceptive data and physical measurements. The first stage of in situ investigation thus provided a corpus of 174 questionnaires, 513 photographs and 18 non-directive group interviews. Acoustic measurements were then made at the same temporalities. Finally, a second stage of in-depth individual interviews conducted with the 29 participants was completed with the realization of 145 mental mind maps. This multifaceted methodology helped to determine the influence of several parameters such as human presence, nature, the mineral aspect, seasonality and urban forms on the spatial and sonic assessment in public spaces
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Books on the topic "Sonic Spaces"

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1948-, Smith Stuart, and DeLio Thomas 1951-, eds. Words and spaces: An anthology of twentieth century musical experiments in language and sonic environments. Lanham, MD: University Press of America, 1989.

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Sonic spaces of the Karoo: A groundbreaking study of music in an ethnically marginalized South African community. Philadelphia: Temple University Press, 2011.

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Levy, Lionel L. Investigation of sonic boom for the space shuttle: Low cross-range orbiter. [Washington, DC: National Aeronautics and Space Administration, 1993.

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Darden, Christine M. Status of sonic boom methodology and understanding: Proceedings of a workshop sponsored by the National Aeronautics and Space Administration and held at NASA Langley Research Center, Hampton, Virginia, January 19-20, 1988. Hampton, Va: Langley Research Center, 1989.

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Darden, Christine M. High-Speed research: sonic boom: Proceedings of a conference sponsored by the National Aeronautics and Space Administration, Washington, D. C., and held at Langley Research Center, Hampton, Virginia, February 25-27, 1992. Hampton, Va: Langley Research Center, 1992.

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McCurdy, David A. High-Speed Research: 1994 Sonic Boom Workshop: Atmospheric propagation and acceptability studies : proceedings of a workshop sponsored by the National Aeronautics and Space Administration and held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: Langley Research Center, 1994.

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Chaos media: A sonic economy of digital space. London: Bloomsbury Academic, 2015.

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Gee, Brigham Young University Kent, and Sally Anne McInerny. Commercial Space Operations Noise and Sonic Boom Measurements. Washington, D.C.: Transportation Research Board, 2020. http://dx.doi.org/10.17226/25834.

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ill, Yardley Tracy 1979, ed. Sonic universe: Silver saga. New York: Archie Comic Publications, 2014.

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Bradley, Kevin A., Michael M. James, Alexandria R. Salton, and Eric R. Boeker. Commercial Space Operations Noise and Sonic Boom Modeling and Analysis. Washington, D.C.: Transportation Research Board, 2018. http://dx.doi.org/10.17226/25100.

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Book chapters on the topic "Sonic Spaces"

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Fahlenbrach, Kathrin. "Sonic spaces in movies." In Body, Sound and Space in Music and Beyond: Multimodal Explorations, 129–49. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series: SEMPRE studies in the psychology of music: Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-8.

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Guerra, Paula, and Ana Oliveira. "A sonic paradise in the countryside." In Remaking Culture and Music Spaces, 137–49. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003254805-13.

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Kastner, Sonja. "Heimatklänge: The Conceptual Design of Branded Spaces by Means of Sonic Branding." In Branded Spaces, 167–77. Wiesbaden: Springer Fachmedien Wiesbaden, 2013. http://dx.doi.org/10.1007/978-3-658-01561-9_11.

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Riddershom Bargum, Anders, Oddur Ingi Kristjánsson, Péter Babó, Rasmus Eske Waage Nielsen, Simon Rostami Mosen, and Stefania Serafin. "Spatial Audio Mixing in Virtual Reality." In Sonic Interactions in Virtual Environments, 269–302. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04021-4_9.

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AbstractThe development of Virtual Reality (VR) systems and multimodal simulations presents possibilities in spatial-music mixing, be it in virtual spaces, for ensembles and orchestral compositions or for surround sound in film and music. Traditionally, user interfaces for mixing music have employed the channel-strip metaphor for controlling volume, panning and other audio effects that are aspects that also have grown into the culture of mixing music spatially. Simulated rooms and two-dimensional panning systems are simply implemented on computer screens to facilitate the placement of sound sources within space. In this chapter, we present design aspects for mixing in VR, investigating already existing virtual music mixing products and creating a framework from which a virtual spatial-music mixing tool can be implemented. Finally, the tool will be tested against a similar computer version to examine whether or not the sensory benefits and palpable spatial proportions of a VE can improve the process of mixing 3D sound.
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Dias, Rui. "MicroSonic Spaces: Towards an Autonomous Ecosystem of Virtual Sonic Agents." In Current Research in Systematic Musicology, 119–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78451-5_6.

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Cobussen, Marcel. "5 The Ethics and Politics of Everyday Sounds." In Engaging with Everyday Sounds, 78–95. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0288.05.

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This chapter turns to solastalgia – a form of psychic or existential distress caused by changes in the home environment. Sonic solastalgia, in particular, is discussed in relation to the construction of a new highway or wind farm, the chopping down of trees, etc. The author then discusses resonance communities, and our inability to be entirely separated from other sonic environments. This means that sound is a (co-)constituent of our social lives – it can unite or divide, include or exclude, homogenize or heterogenized. It is set out that in and through sound we can express how we live together and share our common daily experiences. The way in which sounds are political is detailed – sounds influence modes of perception and are a means of (re)organizing private and public spaces. They also influence human agents on a cultural and pre-cultural (biological) level. Additionally, interactive sonic encounters are shown to relate to ethics.
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Mediastika, Christina E., Anugrah S. Sudarsono, and Luciana Kristanto. "Using the Sonic Perception to Improve Public Spaces and Develop a Place Identity." In Cities’ Vocabularies: The Influences and Formations, 97–107. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-51961-2_7.

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Davismoon, Stephen. "Immersive, Interactive, Real and Imagined Sonic Environments: Encountering the Aural Muse in Imagined, Implied Spaces-." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 113–17. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08189-2_14.

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Docherty, Claire. "Sonic Bothy." In Expanding the Space for Improvisation Pedagogy in Music, 183–92. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351199957-12.

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Deacon, Thomas, and Mathieu Barthet. "Spatial Design Considerations for Interactive Audio in Virtual Reality." In Sonic Interactions in Virtual Environments, 181–217. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04021-4_6.

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AbstractSpace is a fundamental feature of virtual reality (VR) systems, and more generally, human experience. Space is a place where we can produce and transform ideas and act to create meaning. It is also an information container. When working with sound and space interactions, making VR systems becomes a fundamentally interdisciplinary endeavour. To support the design of future systems, designers need an understanding of spatial design decisions that impact audio practitioners’ processes and communication. This chapter proposes a typology of VR interactive audio systems, focusing on their function and the role of space in their design. Spatial categories are proposed to be able to analyse the role of space within existing interactive audio VR products. Based on the spatial design considerations explored in this chapter, a series of implications for design are offered that future research can exploit.
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Conference papers on the topic "Sonic Spaces"

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Van Nort, Doug, and Marcelo Wanderley. "Control strategies for navigation of complex sonic spaces." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279824.

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Summers, Chanel, and Mary Jesse. "Creating immersive and aesthetic auditory spaces in virtual reality." In 2017 IEEE 3rd VR Workshop on Sonic Interactions for Virtual Environments (SIVE). IEEE, 2017. http://dx.doi.org/10.1109/sive.2017.7938144.

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L'Huillier, Nicole, and Tod Machover. "Spaces That Perform Themselves: Multisensory Kinetic Environment for Sonic-Spatial Composition." In ACADIA 2017: Disciplines and Disruption. ACADIA, 2017. http://dx.doi.org/10.52842/conf.acadia.2017.360.

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Brezov, D. S., C. D. Mladenova, and I. M. Mladenov. "Variations of (pseudo-)rotations and the Laplace-Beltrami operator on homogeneous spaces." 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/10.1063/1.4934313.

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Morimoto, Yota, and Beer van Geer. "Breathing Space: Biofeedback Sonification for Meditation in Autonomous Vehicles." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.031.

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The collective, calmspaces, sets out to create spaces for relaxation and contemplation through traditional architectural approach combined with modern digital technology. The ongoing project of the collective, breathing space (ademruimte in Dutch), uses unobtrusive sensing technology to monitor one’s breathing, and through designed light and sonic guides, the project tries to enhance the breathing exercise beneficial to regulating one’s emotion. The paper illustrates the project and its relevance to and potential for in-vehicle development. We then discuss the details of our implementations, along with video documentations of the early prototype, and a recently completed installation work.
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MacDonald, Marie-Paul. "Design of Sound and Place - Recent Studios." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.29.

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Urban public spaces and their associated architecture should be capable of eliciting responses from all of the human senses, yet traditionally urban and architectural designers rely primarily on visual display to persuade the public of the qualities of new proposals. As it becomes more common to use a variety of media to depict and simulate proposed urban spaces, designers and teachers of design look for ways to sensitize emerging designers to the full spectrum of sensations that inform potential users of a public space. The design studios discussed in this paper bring together the issues of the design of the experience of visual and aural settings, in an era of podcasts and ear-buds.In order to address issues of sound and public space, the author selected examples from two architectural design studios that took place in 2016 and 2018. Undergraduate students composed their own programs and projects to take into account the aural as well as visual qualities associated with their design intentions and ambitions. The process began with a programming phase to designate performing and listening as interactions that constitute primary activities happening in the context of the proposed public built form and related urban space. The research continued with an exploration of the tectonics and materials of the projects. Preliminary field research located and mapped small centralized urban organizations related to the sonic: collectives and small businesses working, for example, in the areas of sound recording, radio and musical performance.
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Machado, Antonio Jaschke. "The effect of buildings on atmospheric turbulence in open spaces in Western São Paulo State, Brazil." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.4832.

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This paper seeks to identify a pattern of air turbulence that reflects the effect of buildings on air turbulence characteristics measured in open spaces in Western São Paulo State, Brazil. Atmospheric turbulence was estimated using high-frequency observations of the three orthogonal wind components (u, v, w). A CSAT3 sonic anemometer from Campbell Scientific Inc. (CSI) was deployed on the roof of a building, and the turbulent components (u', v', w') were systematically measured and recorded at 0.1 s and 5 min intervals, respectively, over 100 days between the end of summer (March 2015) and beginning of winter (July 2015) with a CR3000 automatic data acquisition system (CSI). The data analysis took into account the diurnal and nocturnal variability of the turbulence, and the experimental results revealed the existence of a daily vertical circulation pattern. The w component varied between 15 and 45 cm.s-1 on average, and the turbulent fluctuations observed indicated that an ascending component with a speed of up to 1 m.s-1 predominated during the middle of the day and early afternoon. Throughout the night until the early hours of the morning, a less robust, subsiding component with a speed of up to 0.5 m.s-1 was observed. The mean horizontal flow (u, v) was low-speed (around 1 m.s-1) and predominantly from the southeast. There was a consistent change in the direction of this wind, which changed to easterly during the morning as the ascending branch developed. We propose a model for air circulation close to the surface in which this change in direction of the wind is the main effect of the building on the observed turbulence.
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Ayyaz Mustafa, Ayyaz, Zeeshan Zeeshan Tariq, Mohamed Mohamed Mahmoud, and Abdulazeez Abdulraheem. "A Data Driven Machine Learning Approach to Predict the Nuclear Magnetic Resonance Porosity of the Carbonate Reservoir." In International Petroleum Technology Conference. IPTC, 2022. http://dx.doi.org/10.2523/iptc-22081-ms.

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Abstract Carbonate rocks have a very complex pore system due to the presence of interparticle and intra-particle porosities. This makes the acquisition and analysis of the petrophysical data, and the characterization of carbonate rocks a big challenge. Neutron porosity log and sonic porosity logs are usually considered as less accurate compared to the NMR porosity. Neutron-density porosity depends on parameters related to rock matrix which cause the inaccurate estimation of the porosity in special cases suchlike dolomitized and fractured zone. Whereas NMR porosity is based on the amount of hydrogen nuclei in the pore spaces and is independent of the rock minerals and is related to the pore spaces only. In this study, different machine learning algorithms are used to predict the Nuclear Magnetic Resonance (NMR) porosity. Conventional well logs such as Gamma ray, neutron porosity, deep and shallow resistivity logs, sonic traveltime, and photoelectric logs were used as an input parameter while NMR porosity log was set as an output parameter. More than 3500 data points were collected from several wells drilled in a giant carbonate reservoir of the middle eastern oil reservoir. Extensive data exploratory techniques were used to perform the data quality checks and remove the outliers and extreme values. Machine learning techniques such as random forest, deep neural networks, functional networks, and adaptive decision trees were explored and trained. The tuning of hyper parameters was performed using grid search and evolutionary algorithms approach. To optimize further the results of machine learning models, k-fold cross validation criterion was used. The evaluation of machine learning models was assessed by average absolute percentage error (AAPE), root mean square error (RMSE), and coefficient of correlation (R). The results showed that deep neural network performed better than the other investigated machine learning techniques based on lowest errors and highest R. The results showed that the proposed model predicted the NMR porosity with an accuracy of 94% when related to the actual values. In this study in addition to the development of optimized DNN model, an explicit empirical correlation is also extracted from the optimized model. The validation of the proposed model was performed by testing the model on other wells, the data of other wells were not used in the training. This work clearly shows that computer-based machine learning techniques can determine NMR porosity with a high precision and the developed correlation works extremely well in prediction mode.
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Sandu, Constantin, and Dan Brasoveanu. "Sonic Electromagnetic Gravitational Spacecraft." In AIAA SPACE 2007 Conference & Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2007. http://dx.doi.org/10.2514/6.2007-6203.

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Rice, Eric. "Microgravity Sonic Pump Furnace (MSPF)." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4069.

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Reports on the topic "Sonic Spaces"

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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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