Dissertations / Theses on the topic 'Sonic Spaces'

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

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.

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.

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.

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.

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.

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

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

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

Thesis (Ph.D.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
"Personal Space" examines the influence of M. E. Chevreul's On the Law of Simultaneous Contrast of Colors (1839) on the 1913 work of Robert Delaunay, Femand Leger, and Sonia Delaunay-Terk in order to show that each artist used color theory to develop not only an artistic style, but also a broader metier. That French term encompasses an individual's profession and technical skills as well as the identities, worldviews, and geographic locales associated with it. Michel Foucault's notion of historical problematization provides the framework for understanding how simultaneous contrast could define their art, personae, philosophical stances, and relationship to the urban fabric of Paris. Thus, this dissertation argues that all of these artists used the concept of spatial simultaneous contrast to construct a place for themselves in their intellectual, physical, and social environment. This is in contrast to the more temporal simultaneity of their Cubist and Futurist peers. The text begins with an overview of the problematization of space and time in 1913 Paris and demonstrates how debates about simultaneity could be seen in both works of art and on the streets of the city. The first chapter also shows that Montparnasse houses numerous competing spatial structures in order to explain why these three artists selected it as the home of their metiers. Chapter two argues that Robert Delaunay understood this law of color as a representation of the order of the world by placing his Simultaneous Contrast: Sun and Moon alongside the artist's interest in Baruch Spinoza and his frequent visits to the area surrounding the Paris Observatory, an institution central to the institution of Standard Time. In chapter three, an investigation of Femand Leger's studios is used to explain how his Contrasts of Forms series expresses the artist's identification with heterotopian aspects of the modem built environment. Chapter four contends that Sonia Delaunay-Terk's Simultaneous Dress is the embodiment of her use of simultaneous contrast to manage the competing claims made on her identity, especially those found in the Bal Bullier dancehall.

Ce travail est dédié à l'étude des inégalités de type Landau-Kolmogorov en normes L2. Les mesures utilisées sont celles d'Hermite, de Laguerre-Sonin et de Jacobi. Ces inégalités sont obtenues en utilisant une méthode variationnelle. Elles font intervenir la norme d'un polynômes p et celles de ces dérivées. Dans un premier temps, on s'intéresse aux inégalités en une variable réelle qui font intervenir un nombre quelconque de normes. Les constantes correspondantes sont prises dans le domaine où une certaine forme bilinéaire est définie positive. Ensuite, on généralise ces résultats aux polynômes à plusieurs variables réelles en utilisant le produit tensoriel dans L2 et en faisant intervenir au plus les dérivées partielles secondes. Pour les mesures d'Hermite et de Laguerre-Sonin, ces inégalités sont étendues à toutes les fonctions d'un espace de Sobolev. Pour la mesure de Jacobi on donne des inégalités uniquement pour les polynômes d'un degré fixé par rapport à chaque variable.

Il y a plus d'un siècle, les conditions de travail ont fortement évolué sous l'influence de l'industrialisation et notamment à partir de nouvelles méthodes de travail du type Tayloriennes. Des bureaux ouverts à l'Action Office des années 50, c'est plus de 60% de la population active qui est concernée aujourd'hui en Europe. L'évolution des réglementations, liée à la prise de conscience collective des effets psychosomatiques des nuisances sonores, entraîne l'implication par les maîtrises d'ouvrages de bureaux d'études acoustiques pour la préconisation et la mise en œuvre dans la construction et la réhabilitation des espaces tertiaires. La rencontre d'acteurs scientifiques et industriels a donné lieu à ce travail de thèse, étudiant la propagation de l'énergie acoustique pour des espaces dont une des dimensions est différente des autres.La méthode se réduit à la conservation du tenseur énergie-impulsion puis à un système d'équations couplées sur l'intensité acoustique et sur la densité d'énergie. C'est un système hyperbolique d'équations linéaires aux dérivés partielles du premier ordre. Une méthode d'intégration sur une à deux dimensions de l'espace permet d'introduire les coefficients d'absorption et de diffusion moyens. Nous introduisons le potentiel d'intensité et nous écrivons le système sous la forme d'une équation hyperbolique linéaire aux dérivées partielles du second ordre impliquant la densité d'énergie, l'intensité acoustique ou le potentiel d'intensité sur une ou deux dimensions. Nous proposons une méthode analytique approchée permettant de vérifier les résultats à une dimension.Pour la conception acoustique des plateaux de bureaux, la modélisation informatique est un outil remarquable souffrant pourtant de limitations restreignant ses applications. Nous résolvons le formalisme introduit dans ce travail par la méthode des différences finies dans le domaine temporel sur une et deux dimensions. Les schémas utilisés sont stables et explicites et peu couteux en mémoires informatiques. Le fait que nous nous intéressions à une variable énergétique permet de considérer un pas de modélisation spatial important - de l'ordre du mètre - et d'accélérer d'autant les calculs.Le partenariat industriel nous a notamment permis d'accéder à des espaces de type plateaux de bureaux. Nous comparons les résultats des modélisations avec des mesures in situ conduites avec un microphone SoundField ST250 permettant l'estimation de la densité d'énergie et de l'intensité acoustique
More than a century ago, working conditions have evolved under the influence of industrialization and especially of new management methods such as the Taylorism. From Open-Spaces to Action Offices in the 1950s, more than 60 % of the European working population is concerned today. The evolution of regulations, linked to the collective awareness of the psychosomatic effects of noise, has led clients to request the involvement of acoustical consultants for giving recommendations and supervising their implementation in constructions and rehabilitations of office spaces. This is why scientific and industrial stakeholders joined forces for this thesis dedicated to the propagation of sound energy within rooms characterized by one dimension different from the others.The method developed in this thesis reduces the conservation of the energy-stress tensor to a system of coupled equations for the sound intensity and the sound energy density. It is a hyperbolic system of linear, partial differential equations of first order. Integrating this system on one or two space dimensions leads to the introduction of the mean absorption and diffusion coefficients. We then introduce an intensity potential and write the system in the form of a linear hyperbolic equation involving partial derivatives of second order for the energy density, the sound intensity, or the intensity potential in one or two dimensions. We also propose an analytical approximated method to verify the results in one dimension.For the acoustic design of open-space offices, computer modelling is an outstanding tool. Yet limitations restrict its applications. We solve the equations introduced in this work by the finite-difference time-domain method in the one- and two-dimensional cases. We use stable and explicit schemes that require little computer memory. Considering energy variables allows the use of large spatial steps - of the order of the metre - and accelerates the calculations.The industrial partnership notably gave us access to open-space offices. We compare the results of the modelling with in situ measurements carried out with a SoundField ST250 microphone that makes it possible to estimate the sound energy density and the sound intensity

Desde 2005 quando os moradores da região do Butantã tomaram conhecimento que o poder público estava finalizando a elaboração da minuta do projeto de lei que regulamentaria a Operação Urbana Consorciada Vila Sônia, prevista no Plano Diretor Estratégico de 2002, os conflitos vieram à tona. Durante um longo período os moradores se reuniram a partir de associações e entidades representantes dos moradores dos diversos bairros que compõem a Subprefeitura do Butantã, como a AMAPAR e a Rede Butantã, como também criaram novos movimentos para representá-los diante do poder público e para organizar a população que ainda não tinha conhecimento das possíveis modificações que a OUVCS traria à região. Os embates foram longos e o resultado foi a paralisação desta operação urbana. Esta pesquisa procurou desvendar o contexto socioeconômico em que nascem e se firmam estas políticas públicas para a produção do espaço urbano, bem como analisar as razões que fizeram com que estes instrumentos urbanísticos, como as operações urbanas previstas no Estatuto da Cidade de 2001, ganhassem tanta primazia na metrópole paulistana em detrimento dos demais instrumentos, também previstos no Estatuto da Cidade, que poderiam amenizar as nossas desigualdades socioespaciais. Partimos do pressuposto que tais instrumentos urbanísticos veem contribuindo de forma mais acentuada para a realização do capital financeiro e imobiliário no espaço urbano, ao invés de trazer melhorias sociais e ambientais à população, como tem sido anunciado pelos discursos que tentam legitimá-las. No caso específico do Butantã, nos preocupamos em compreender a dinâmica da região na reprodução da metrópole paulistana, bem como analisar as estratégias de luta dos movimentos sociais da região e as estratégias e discursos do Estado na tentativa de implementar a OUCVS, abrindo caminho para mais uma frente de expansão para o setor imobiliário dentro da metrópole.
Since 2005, when the inhabitants of the region of Butantã learned that the government was finalizing the draft of a bill which would regulate the Vila Sonia Consortium for Urban Operation, foreseen in the Strategic Master Plan of 2002, conflicts have emerged. For a long period, the inhabitants of this region assembled in associations and representative organizations of residents of the several neighbourhoods which compose the Sub Prefecture of Butantã, such as AMAPAR and the Rede Butantã, and created new movements to both represent them in the public administration and organise the population who still didnt know about the modifications that the OUVCS (Vila Sonia Consortium for Urban Operation) would possibly bring to the region. The conflict was long, resulting in the paralysation of this urban operation. This research has tried to unveil the socio-economic context which gives rise and establish these public policies for the production of the urban space, analysing the reasons which have allowed urban instruments such as this one, alongside the urban operations foreseen in the 2001 Statute of the City, to reach such importance in the metropolis of São Paulo in detriment of other possible instruments, also foreseen in the Statute of the City, which could lessen our socio and spatial inequalities. We have worked on the assumption that such urban instruments have been contributing more markedly to the financial and real estate capital achievements of the urban space as opposed to bringing social and environmental improvements to the population, as it has been heralded in speeches which try to legitimate them. In the specific case of Butantã, we were concerned with understanding the dynamics of the region in the reproduction of the metropolis of São Paulo and analysing both the fighting strategies of the social movements in the region and the strategies and official speeches attempting to implement the OUCVS (Vila Sonia Consortium for Urban Operation), thus paving one more way to the expansion of the real estate sector in the metropolis.

設T為一於二維環面T²上，特徵值為整數的線性自同態，而D為一T²的Markov分割。那麼每一個D上定義的符號空間有限型子轉移則對應一個T²的T -不變緊子集K。判斷K的 Hausdor和Minkowski維數何時相等是一有趣問題。Kenyon and Peres [15]說明了此問題與(K, T )的測度熵及拓撲熵關係密切。這篇論文將進一步說明兩種維數的相等與符號動力系統及矩陣乘積的漸近性態的密切關係。此外我們描述一種算法以判斷兩個譜半徑為1的本原矩陣的任意乘積的譜半徑何時維持1，以及此算法對於研究sofic自仿集K的應用。
Let T be a linear endomorphism on the 2-torus T² with integer eigenvalues, and D be a natural Markov partition (c.f. Bowen [4]) of T² . Then a subshift of nite type over D corresponds to a T-invariant compact subset K of T². An interesting problem is to determine when the Hausdorff and Minkowski dimensions of K conincide. Kenyon and Peres [15] showed that this is closely related to the measure-theoretic and topological entropies of (K, T). In this thesis, we further show that the coincidence of dimensions has a deep connection to symbolic dynamics and the asymptotic behaviour of matrix products. Moreover, we develop an algorithm to determine when the spectral radii of arbitrary products of two primitive matrices, with spectral radius 1, are preserved, and apply this algorithm to some sofic self-affine sets considered above.
Detailed summary in vernacular field only.
Lo, Chiu Hong.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 55-56).
Abstracts also in Chinese.
Chapter 1 --- Introduction and Main Results --- p.6
Chapter 2 --- Preliminaries --- p.12
Chapter 2.1 --- Basic symbolic dynamics --- p.12
Chapter 2.2 --- The symbolic representations --- p.13
Chapter 2.3 --- An adapted covering of the invariant set KT (A) --- p.17
Chapter 2.4 --- Some basic lemmas and theorems --- p.18
Chapter 3 --- Proofs of Proposition 1.2 and Theorem 1.3 --- p.22
Chapter 3.1 --- Proof of Proposition 1.2 --- p.22
Chapter 3.2 --- Proof of Theorem 1.3 --- p.24
Chapter 4 --- Projection of measure of maximal entropy for sub-shifts of finite type --- p.26
Chapter 4.1 --- Projection of the Parry measure via a general factor map --- p.26
Chapter 4.2 --- Proof of Theorem 1.4 --- p.36
Chapter 5 --- Spectral radii of products of primitive matrices --- p.38
Chapter 5.1 --- The algorithm --- p.40
Chapter 5.2 --- Some applications and examples --- p.51
Bibliography --- p.55

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

In the process of carving a new England out of the southern end of Vancouver Island in the later nineteenth century, the population of Victoria, BC sought to forge a British identity for themselves through music and its associated rituals. They did this through the pursuit of purposeful acts of cultural meaning. In the social sphere, concerts, parades, religious services, and theatrical productions heightened and inspired loyalty to Mother England. Victoria’s upper classes could then dominate by excluding those people—including Jewish, Chinese, Indigenous, African-American, and Hawaiian residents—who did not conform to that identity. In late-nineteenth-century Victoria, music became more than just a way to celebrate, worship, and recreate; it defined social life for British and non-British peoples alike and shaped the physical space in which they lived. This dissertation explores late nineteenth-century Victoria’s creation of a British identity through music. Ensuring that their churches had a powerful organ and talented organists, Victoria’s religious community proved that they could undertake Britain’s highest social point of sacred musical performance: the choral festival. Positioning George Frideric Handel’s Messiah—with its strong connotations of Britain and her Empire—as their showstopper, these choral festivals served to cement relationships between those citizens who considered themselves British, while also proclaiming this identity as a mark of superiority to the community at large. Itinerant opera troupes further strengthened these imperial bonds by importing European and British opera to Victoria. Through the performances of these professional travelling musicians, Victorian Victorians were able to experience high art and popular operatic music of the Western world, joining the particularly British Pinafore and Mikado crazes of the 1870s and 1880s. These itinerant singers thoroughly impressed local musicians, who avidly tried to reproduce what they had heard, first in instrumental overtures and medleys in the 1860s and 1870s, then with vocal and instrumental operatic numbers in miscellany concerts in the 1870s and 1880s, and finally with full operatic productions in the 1880s and beyond. As with choral festivals in the religious sphere, taking part in opera productions also helped to create a shared sense of British identity among Victoria’s upper classes, during a time when other defining factors of social placement were not yet secure. Settlers in Victoria removed the Indigenous and natural impediments to the construction of their new metropolis, in effect silencing their cultural “voice.” Besides the Indigenous peoples of Vancouver Island, other recent settlers posed challenges to British hegemony, especially Chinese immigrants and “coloured” people of African origin, many of whom came from the United States. Even the gender demographics in the male-dominated frontier society posed challenges to the civilizing process. The Jews of Victoria, the majority of whom were of German or English origin, present an ambiguous case of a cultural and religious community at the crossroads in mid-nineteenth-century Victoria. The butt of rising anti-Semitism in continental Europe, Victoria’s Jewish minority used music and ritual to establish themselves as members of the dominant class.
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