Dissertations / Theses on the topic 'Sound design'
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Zetterblom, Margareta. "Textile Sound Design." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3588.
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The thesis aims at developing conceptual and methodological tools in order to adapt sound in a “designerly” way within the discipline textile design. Occupational groups working with sound are to a large extent problem driven. This implies knowledge regarding sound and sound design mostly focuses on defensive strategies, not creative possibilities. The ambition with this research project is to make suggestions how textile designers can work practically with textile sound design, in a more nuanced way. /br As a starting point the thesis describes commonly used methods and processes used in the design process within an industrial context, followed by a more thorough analyze of the textile design process. These studies constitute a foundation to make it possible to see in what way these methods and processes will be affected when sound is added as new design tool./br By studies of two sound design models, the first attempts to develop a vocabulary concerning how to describe sound affecting qualities or sound expression of a textile are presented. Research focusing on language issues, especially on the development of conceptual tools done at the research institute Cresson, provides descriptive concepts, “sound effects”, embracing the interaction between human and his sound environment. These concepts are followed by a model of how to describe a “sound object” in “itself” (not in relation to anything else), developed by Pierre Schaeffer./br The theoretical models have been applied on the outcome of an phenomenological study named Describe. A number of design examples are finally presented as methodological examples of different ways to work with textiles and sound./br Keywords: sound, design, textile design, sound effect, sound object.Thesis to be defended in public at 24 May 2011 at 13.00, at the Gallary floor 2, The Swedish School of Textiles, Bryggaregatan 17, Borås, for the degree of Philosophy.
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Zetterblom, Margareta. "Textile sound design." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3486.
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This thesis aims at developing conceptual and methodological tools in order toadapt sound within the textile design area. Occupational groups working with soundare to a large extent problem driven. Accordingly, textile designers working withsound- affecting properties of textiles concentrate on their dampening qualities. Theambition with this research project is to make suggestions how textile designers canwork practically with textile sound design, in a more nuanced way.The overall aim of the thesis is to develop a vocabulary to make textile designersable to express the sound affecting qualities of textiles in a language full of nuances.As a starting-point the thesis briefl y describes commonly used methods andprocesses used to describe the expressiveness of a design, followed by a morethoroughly analyze of the textile design process illustrated by a practical example.These studies constitute a foundation to make it possible to see in what way thesemethods and processes will be affected when sound is added as new design tool.By studies of two sound design models, the fi rst attempts to develop a vocabularyconcerning how to describe sound affecting qualities of a textile are developed.Research focusing on language issues, especially on the development of conceptualtools done at the research institute CRESSON, provides descriptive soundconcepts, “sound effects”, embracing the interaction between human and his soundenvironment. These concepts are followed by a model of how to describe just asound or “sound object” in “itself” (not in relation to anything else), developed byPierre Schaeffer. These theoretical models have been complemented with empiricalstudies in form of a survey, named LISTEN. Interviews were performed from aphenomenological perspective. A number of informants were asked to tell aboutthe sound environment and single sounds occurring at their working places. Theinterviews were interpreted from a phenomenographic perspective. A number ofdesign projects are fi nally presented as practical examples of different ways to workwith textiles and sound.The theoretical models provided by Schaeffer have been used to make the fi rstsystematic attempts to describe sound environments; sounds and textiles soundaffecting properties.Since the model presented by Schaeffer is developed to be used within musicalcomposition the concepts have to be additionally modifi ed to be a useful tool withinthe textile design area. The thesis presents just the fi rst attempts to use this model.The next step to take in the research project is to adjust the theoretical systems ofCRESSON and Schaeffer to suit the special area of textile design. The interactiveideas of a sound-affecting textile will also be a subject of further development.
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Wennebjörk, Turdell Johan. "Sound Fence." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-92054.
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To fence in pastures for sheep today is a major cost, especially because of the time required when using current methods. What takes most time is starting to fence off a new area, but to maintain a fence is also a continuous effort. The main function is to keep the sheep at the field.! ! By interviewing and observing sheep farmers on how they work with fence today and what their problems was, I got a better understanding of the problem. Also looking at a number of other things like the context, statistics on sheep farming, laws and competition mapping gave a wider image. But the most important part in my research occurred when I talked to experts about sheep behavior. The main characteristic is the flocking behavior which the final result is based on. ! By stressing a sheep with a sound as it is on its way out of the given area the sheep will, cos of flocking behavior, stop and move back to the other sheep.
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Stevenson, Ian Robert. "The sound effect: a study in radical sound design." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13368.
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This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. The design follows an iterative cycle of research and creative practice that integrates theory, practice and empirical approaches. The research makes an initial contribution to the field of sound studies by re-appraising the work of pioneers in the field—Pierre Schaeffer and R. Murray Schafer—in light of the concept of the sonic effect. This concept is developed as an effective tool for both sound studies and sound design. This theoretical work attempts to critically and creatively examine the ontology or mode of existence of sonic phenomena and is informed by the post-structural theory of the effect. The theory of the sonic effect is empirically investigated by examining verbal accounts of listening experience elicited by semi-structured interview. Finally, having deconstructed sonic phenomena in terms of their potential to be actualised in diverse contexts, sonic effects are interrogated as a creative strategy in the field of sound design for performance and installed sonic art. Two projects are documented. One is a hybrid live performance installation utilising a novel software design for sound composition and projection. The other is a sound installation work demonstrating a novel loudspeaker design for the creation of very dense sound fields. In this context, design occurs as an effect at the intersection of new technologies of sound production and the production of audible sense. This approach enacts a radical pragmatism that underlies the radical sound design strategy outlined in the thesis.
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Klimas, Matthew L. "Argent Sound Recordings: Multimodal Storytelling." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.
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ARGENT SOUND RECORDINGS explores the integration of visual, written and sonic elements to tell a story. "The Silver Bell," a fairy tale, is delivered through the internet providing users an opportunity to experience and interpret a constructed narrative under the guise of an independent record label website.
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Nykänen, Arne. "Methods for product sound design." Doctoral thesis, Luleå tekniska universitet, Drift, underhåll och akustik, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26577.
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Product sound design has received much attention in recent years. This has created a need to develop and validate tools for developing product sound specifications. Elicitation of verbal attributes, identification of salient perceptual dimensions, modelling of perceptual dimensions as functions of psychoacoustic metrics and reliable auralisations are tools described in this thesis. Psychoacoustic metrics like loudness, sharpness and roughness, and combinations of such metrics into more sophisticated models like annoyance, pleasantness and powerfulness are commonly used for analysis and prediction of product sound quality. However, problems arise when sounds from several sources are analysed. The reason for this complication is assumed to be the human ability to separate sounds from different sources and consciously or unconsciously focus on some of them. The objective of this thesis was to develop and validate methods for product sound design applicable for sounds composed of several sources. The thesis is based on five papers. First, two case studies where psychoacoustic models were used to specify sound quality of saxophones and power windows in motor cars. Similar procedures were applied in these two studies which consisted of elicitation of verbal attributes, identification of most salient perceptual dimensions and modelling of perceptual dimensions as functions of psychoacoustic metrics. In the saxophone experiment, psychoacoustic models for prediction of prominent perceptual qualities were developed and validated. The power window experiment showed that subjects may judge only parts of the sound. Power window sound consists of the motor sound and the scratching of a window sliding over the seal. The motor sound was filtered out and models developed using motor sound alone showed good agreement with listening tests. This demonstrated the human ability to separate sound from different sources and pointed out the importance of handling auditory stream segregation in the product sound design process. In Paper III sound sketches (simple auralisations) was evaluated as a way to assess sounds composed of several sources. Auralisation allows control of the contributions of different sources to a sound at the listening position. This way, psychoacoustic analysis and listening tests may be carried out on the contributions from sources separately and as an ensemble. Sound sketches may also serve to specify a target sound for a product. In Papers IV and V, the precision of auralisations related to intended use was investigated. Auralisations were made by filtering engine sounds through binaural transfer functions from source locations to the listening position in a truck cabin. In Paper IV simplifications of auralisations of one source were compared to artificial head recordings. For idling sounds auralisations through binaural transfer functions with a resolution of 4 Hz or better, or smoothed with maximum 1/96 octave moving average filters were found to preserve perceived similarity to artificial head recordings. In Paper V the effect of simplifications of transfer functions on preference ratings of auralisations was examined. This is of interest in applications where audible differences may be acceptable as long as preference ratings are unaltered, e.g. when auralisations are used as rough sound sketches. At 500 rpm idle speed, a resolution of 32 Hz or better, or smoothing with maximum 1/24 octave moving average filters showed no significant alteration of subject preference ratings. These figures may serve as guide for required accuracy in auralisations used for evaluation of idling sounds in truck cabins. To conclude, psychoacoustic analysis of total sound may be used for prediction of perceived sound quality as long as the sound is generated by one source. When several sources generate sound, auditory stream segregation effects in combination with cognitive effects may deteriorate the results. Auralisation is a useful tool in such cases, since it makes it possible to analyse the effects of contributions from each source. It can also be used for making sound sketches which can serve as support in the design process.Godkänd; 2008; 20080925 (ysko)
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Novais, Ana Maria Teixeira Duarte de Sousa. "Play sound system." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/12449.
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Dissertação apresentada na Universidade de Lisboa - Faculdade de Arquitetura, para obtenção do grau de Mestre em Design de Produto.A consciência da importância de espaços públicos dedicados a crianças no seu desenvolvimento integral, tem vindo a crescer desde os finais do século XIX. Esta importância aumenta quando nos deparamos com algumas transformações na nossa sociedade como a redução do tamanho das famílias e a diminuição dos espaços domésticos para brincar, entre outras. Paralelamente, há um crescimento do mercado de brinquedos e equipamentos lúdico-pedagógicos de teor científico. Assim, na presente dissertação, pretende-se projectar um sistema de equipamentos urbanos lúdicos para o público infantil que englobe música e os benefícios desta, com o objectivo de associar o conhecimento a uma actividade lúdica, facilitar a aprendizagem e, ao mesmo tempo, promover o exercício físico e o desenvolvimento social. Sendo uma dissertação de teor prático, recorrer-se-á a uma metodologia mista. Primeiramente não intervencionista de observação directa, recolha e organização da literatura e numa segunda fase, intervencionista, a investigação activa, que consiste no projecto do sistema que será confrontada com diversos especialistas. Teve-se como objectivo projectar um sistema que leve à interacção com a música contribuindo para uma melhor relação entre as crianças e o conhecimento facilitando-lhes a aprendizagem. Assim esperamos contribuir para um maior conhecimento nas áreas do design de equipamentos infantis e criar um sistema passível de ser divulgado e comercializado mais tarde.
ABSTRACT: The awareness of the importance of public spaces dedicated to children in their full development has been growing since the late nineteenth century. This importance increases when we face with some changes in our society such as the reducing size of families and domestic space to play, among other. In parallel, there is also a growth of recreational and educational toys and equipment for scientific content market. Thus, in the present work, we intend to design an urban recreational equipment system for children that embraces music and its benefits in order to link knowledge to a recreational activity, facilitate learning and, at the same time, promoting exercise and social development. Being a practical dissertation, it will be applied a mixed methodology. First non-interventional of direct observation, gathering and organizing literature. In a second stage an interventional one through active interventional research, which consists in the designing of the system that will be confronted with different experts. The objective is to lead to the interaction with music contributing to a better relationship between children and knowledge and facilitating their learning. We hope to collaborate for a better knowledge in children equipment design area and create a system that can be marketed later.
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Franinović, Karmen. "Amplifying actions : towards enactive sound design." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1496.
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Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.
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Miranda, Eduardo Reck. "Sound design : an artificial intelligence approach." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/20692.
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Modern computer technology enables the production of a virtually limitless variety of sounds by providing substantial access to the parameter settings of synthesis algorithms. However, the design of sounds using a synthesis algorithm is still accomplished in a very old-fashioned way: by feeding the algorithm with streams of numerical data. Furthermore, these numbers are usually worked out manually. For example, a composer who works with the Csound synthesis programming language must master Csound for implementing a synthesis algorithm and also specify all the input parameter values for the production of every single sound. Depending on the complexity of the algorithm, there might be cases where over a hundred parameters need to be specified for each sound event. In such a situation the imagination of the composer can easily become vulnerable to time-consuming, non-musical tasks. We argue that the power of the computer could also provide better ways for the composer to express his requests to the synthesis algorithm at hand and moreover, provide appropriate aid for the exploration of sonic ideas. To this end, we propose an Artificial Intelligence (AI) approach to sound design systems, which focuses on sound design as a knowledge-based kind of intelligent behaviour. We consider that sound design involves the explicit organisation, application and generation of knowledge. AI is aimed here at helping the composer to handle this knowledge by means of suitable knowledge representation and machine learning techniques.
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Hällgren, Nina. "Designing with Urban Sound : Exploring methods for qualitative sound analysis of the built environment." Licentiate thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-240078.
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The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized.Licentiatavhandlingen Designa med stadens ljud undersöker det urbana ljudrummets konstitution och kvalitativa egenskaper utifrån ett designorienterat och praktiknära perspektiv. Avsikten med arbetet är att utveckla verktyg och metoder för representation, kommunikation och analys av stadens exteriöra ljudmiljö genom att synliggöra interaktionen mellan arkitektur, ljudbildning och upplevelse. Genom att visa exempel på andra sätt att kommunicera och analysera ljud i staden än dagens vedertagna metoder, är syftet är att bidra till kunskapsutvecklingen inom fältet för urban ljudplanering- och design.
QC 20181211
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Wingler, Peter A. "The narrative force of sound." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.
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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that using the principles of Schema Theory enables sound designers to maximize the narrative impact that sound design has over a broad audience.Department of Telecommunications
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Verviers, Claire Juliette. "The Influence Of Sound Properties On The Semantic Associations Of Product Sounds." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612412/index.pdf.
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To be able to design product sounds that elicit a predetermined expression a study was
performed to find how sound properties influence the experience of their expression. Two
explorative studies using figurative against abstract visual stimuli were performed to
create insight in how people experience sounds and to create a list of usable semantic
associations. This list was ordered in 25 expression categories each under one descriptive
semantic association. A third study using mind mapping was conducted to examine what
sound properties were considered as influences on a few of these categories and to
optimize the categorization. The sound properties that were considered as most influential
were sharpness and noisiness. The final descriptive semantic associations were placed
on a scale with the axes unpleasant-pleasant and calm-active. From these the following
were considered to be most usable: activated, angry, boring, calm, chaotic, cheerful, eerie,
energetic, pleasant, relaxed, trustworthy and unpleasant. In a fourth study the sounds of
six domestic appliances were chosen and adjusted for sharpness, noisiness and their
combination. They were evaluated for their valued expression on the 12 semantic
associations by 30 participants. The results showed that increased sharpness elicited a
more unpleasant and activated expression and decreased sharpness elicited a more
pleasant and calm expression. This indicates that a general influence of sound properties
can be established to design sounds for expression.
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FERRANTI, MARCELO PEDRUZZI. "SOUND AS A PROJECT TOOL IN DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35590@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA pesquisa propõe uma série de métodos e princípios para explorar o som em um processo projetual de design. Questões relativas aos aspectos sonoros parecem ser negligenciadas durante o processo projetual de design. Como poderia um designer, mesmo sem um treinamento formal acerca do som, utilizar o som em seus projetos de uma forma construtiva, intencional e objetiva? Para responder a essa pergunta, investigamos o impacto das mudanças sofridas pelas paisagens sonoras nas últimas décadas, ocasionadas pela industrialização e mecanização da sociedade. O impacto e a percepção dessas sonoridades pelo indivíduo também são discutidos, utilizando-se, para isso, os conhecimentos provenientes da acústica, psico-acústica e os mecanismos atencionais. Mapeamos, também, o estado da arte, evolução e aplicação desses sons em diferentes campos do saber, tais como a interação homem-computador, sonic interaction design, cinema e a musicologia, com a finalidade de obtermos um recorte teórico acerca do som que seja pertinente ao campo do design. Como resultado dessa exploração, propomos um conjunto de princípios norteadores e de métodos exploratórios sonoros para prototipar o som para o design. Por fim, aplicações e desdobramentos futuros em relação ao uso desses princípios e métodos são sugeridos.
This research proposes a number of methods and principles to explore the sound in a design process. Issues related to sound aspects seems to be neglected during the design process. So, how could a designer, even without a formal sound or musical training, use sound in the projects in a constructive, intentional and objective way? In order to answer this question, we investigated the impact of changes in sound landscapes in the last decades, caused by the industrialization and mechanization of society, which made it possible to dissociate the sound from its emitter, allowing the former one to be manipulated, examined and dissected. The impact and perception of sounds by individuals are also discussed. To do so, the knowledge coming from acoustics, psychoacoustics and attentional mechanisms are used. We also mapped the state of the art, evolution and, application of these sounds in different fields of knowledge, such as human-computer interaction, sonic interaction design, cinema, and musicology, with the purpose of obtaining a relevant contribution to the design field. As a result of this exploration, we propose a set of guiding principles and exploratory methods for sounds as audible affordances for design. Finally, future applications and studies in relation to the use of these principles and methods are suggested.
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Lehecka, Kurt S. "Aural Design: Merging of Sound and Space." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491313819383138.
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Justin, Rodriguez. "Visually sound : an exploration of design + music /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/20.
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Thesis (B.F.A.)--California Polytechnic State University, 2009.Project advisor: Charmaine Martinez . Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Dennis, Daniel C. "Sound, Body, and Feeling: Sound Design and Acting in the Work of SITI Company." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368116188.
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Juhlin, Rasmus. "Anovel: Sound Reading." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20550.
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Över en trestegsprocess brukar studien research through design för att utforska narrativ presenterade genom ett multimodalt medium bestående av komponenterna text och stream (ljud). En existerande applikation, Booktrack, har blivit undersökt under studien. Därefter utveckades tre prototyped för att identifiera och förstå hur narrativ design kan formas i förhållande till de två komponenterna. Studien har fokuserat på stream design och på uppfattningen av noveller och fiktiva texter som presenteras genom både text och ljud. Med sitt ursprung i sound studies identifierar studien fem generella och tre specifika stream design principer vid arbete av ljud i relation till text. Utöver dessa indikerar studien att en streams närvaro påverkar hur en läsare visualiserar narrativet. Vidare har studien utforskat narrativ design där båda komponenterna är beaktade. Därigenom markeras potentialen hos den multimodala presentationen att kunna expandera narrativet, genom medveten användningen av både text och stream. Den multimodala presentationen antyder dock att likheten med traditionella noveller och liknande ”tysta” texter både skapade intresse och oro. Sammanfattningsvis förstärkte närvaron av en stream inlevelsen samtidigt som det inhöll risken och förmågan att tvingat vägleda en läsares tolkning och föreställning av narrativet. I ett samtid där multimodala presentationer är tillgängliga genom diverse smart-devices, är det troligt att presentationer i likhet med de som undersökts i studien kan utgöra ett nästa steg i alldagliga presentationer. Ta nyhetsartiklar, annonsering, och informationsbrochyrer som ett par områden utanför noveller och fiktion där liknande multimodala presentationer kan komma att utvecklas och användas i samhället inom en snar framtid.Through a three-part process employing research through design, this study has explored narratives being presented through a multimodal technical medium consisting of both textual and stream (sound) components. It has examined an existing application, Booktrack, and through developing three separate prototypes, has sought to identify and understand how one might approach a narrative when constructed using the aforementioned components. Specifically, it has explored the stream (sound) design and the perception of novels and fiction texts when presented through both text and sound. Taking on a perspective with its origin in sound studies, the study has identified five general and three specific stream design guidelines for working with sound in relation to text. Moreover, it has indicated that contextually appropriate streams’ presences alongside written text affect how a reader visualizes the narrative. Further, it has explored narrative design with both the textual and stream components in mind. Thereby, it posits a venue where the multimodality of the presentation might be used to expand the narrative presentation, using both the text and the stream as tools to further the narrative. However, it also identifies the similarities of the narrative presentation with the traditional novel and similar silent texts as being an indictment of concern. Namely, participants of the study expressed the stream’s intrusion and impact upon their immersion and visualization of written stories as both immersion enhancing and as forcibly guiding their imagination. In a society where multimodal presentations are available through phones, tablets, and other devices, it seems plausible a multimodal presentation, such as the one explored, might constitute the next step in everyday presentations. Take news articles, advertisements, and information brochures as a few tangible areas where this kind of presentation might be employed in the close future.
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Toro, Duque Estefania. "Addressing subjectivity: Pedagogical strategies for teaching and assessing sound design." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235923/1/Estefania%2BToro-Duque%2BThesis%281%29.pdf.
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Subjectivity is inherent to creative disciplines like sound design, this subjectivity creates a challenge for educators when teaching and assessing their students. Through a survey of the current practice in sound design teaching, this project presents pedagogical strategies that may help address said subjectivity. Finally, this thesis proposes a definition for the term sound design, and suggests a series of tasks for a sound design class, along with their corresponding assessment methods.
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Löf, Anton. "Generating and Manipulating Sound : Tools for digital music production." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-136886.
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Music making and technological development has always been connected. The digital revolution has made advanced music production, writing and distribution tools universally accessible. New intelligent tools built on machine learning are entering the market potentially changing how we create music and interact with creative content. The aim of this thesis project has been to find alternatives to existing interaction models manifested in modern DAWs (Digital Audio Workstations). Ideas developed through rough sketches and simple prototypes—the outcome consists of three concept videos proposing changes to three moments in the workflow of songwriters and producers. This thesis started with an idea of exploring the borderland between computer generated music and human creativity. Through desk research and interviews I learned that computational creativity exist and that there is a lot of different ways of defining creativity and art. Creating creative computers should not aim to replace humans creative abilities—it is rather about automating and creating tools that enhance our creative abilities. To understand how songwriters and producers work the subject were investigated through semi-structured contextual interviews. The different ways of working and using tools were mapped out and potential opportunity areas were identified. This thesis have been a project that through sketching, mock-ups and simple prototypes questions how we use digital tools in music production. These concepts and sketches were continuously brought back to experts for feedback. The outcome consists of three concepts. They are presented through three short videos. These videos are now shared with a bigger audience and will act as an conversation starter for people interested in tools for digital music production. 1. Automating parts of the songwriting process and create a collaborative workflow between a you and a computer, through a conversational user interface. 2. A pressure sensitive touch surface that let you manipulate sound. It is an adaptive system that automatically detects active controls in your DAW—it maps these active controls from your computer screen down to a touch pad. 3. The third concept changes the way you organise and look for sound files. It is a automatised process where a software helps you compare different sounds to each other. It takes away most labels and focuses on mapping sound according to its auditory profile.
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Boland, Carl. "A sonic arts approach to sound design practice." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/a-sonic-arts-approach-to-sound-design-practice(27b39541-a56e-4b59-9b75-290d625c0064).html.
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This practice-as-research study documents the development of a sonic arts approach to film sound design. An interdisciplinary conceptual framework that combines selected theories of electroacoustic music and apposite perspectives from film soundtrack studies informs the approach. Over the course of the research, a broadening practical knowledge of theoretical applications influenced the development of the sound design approach and its conceptual framework. The term 'sonic arts' characterises the compositional tenets of the sound design approach, which takes the form of an inter-modal strategy based on the interdependence of two compositional modes. The intersonic compositional mode corresponds to sound-object design and to the forming of meaningful structural relationships between soundtrack elements. The audiovisual compositional mode corresponds to forming meaningful relationships between soundtrack elements and film images. The overall approach also reflects Walter Murch's concept of sound design as a multifaceted practice endeavour, which includes taking creative responsibility for the soundtrack in post-production (Murch 1995). The presentation of research in this thesis comprises two distinct parts. The first part outlines the sonic arts approach, defines the theoretical basis of its conceptual framework, and identifies potential practice applications. The second part presents three case studies of sound design practice for independent film projects. The case studies document applications of the conceptual framework and critically reflect on acquired practical knowledge of the sonic arts approach. The study concludes that the electroacoustic music theories of spectromorphology and indicative fields (Smalley 1986; 1992; 1997) have useful applications in sound design practice as a perception-based system of analysis. The research also illustrates that sonic landscape theory (Wishart 1986; 1996) constitutes a creatively enabling conceptual framework for sound design when it is applied to the inter-modal compositional strategy.
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Stensholt, Håkon Meyer. "Sound Meets Type : Exploring the form generating qualities of sound as input for a new typography." Thesis, Konstfack, Grafisk Design & Illustration, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4761.
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How can you create new letterforms using sound as input? In Sound meets Type, have I studied the form generating qualities of sound as input for a new typography. Through history the technological development has provoked new approaches to type design, which in turn has evolved letterforms. By using generative systems to search for letterforms in a contemporary and technological context, I have created a customized software that uses the data inherent in sound as a form generator for possible new letterforms. The software is developed by using a language called Javascript. The thesis consist of a written part and a creative part. The creative part is documented within this thesis.
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Singh, Sarvjit. "Echoing Awareness : Sound as a co-designing agent." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105758.
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This project is a site-specific ethnographic study of a culture around a community water tank that serves as a value-driven piece of architecture and has become an inconspicuous tourist attraction in the city of Växjö due to its peculiar acoustic property. At the onset, I draw parallels between an ancient underground temple called the Hypogeum located in Malta, where the physical dimensions of the space similarly shaped sensorial experiences in more nuanced ways than conventional architecture of its time. The core of my work here has three explorative angles. One, where I embark on interdisciplinary research approaches, to conduct field studies and investigate ways to empirically test how the physical properties of spaces shape cognitive impressions. A crucial need to express spirituality within an academic framework is proposed and a method of non-intentional design (NID) is introduced as my driving process for the study. Two, as a digital story, I conduct interviews and make the culture of this space visible to the public through an instagram account called #echoingawareness. And three, I present some of my experience building this slow and steady relation with the local municipality with a proposal to provide space on the urban planning table for bottom-up approaches where voices from such sacred spaces can be made more inclusive. I hope this could be a useful resource as a transdisciplinary study for future planning of urban architecture and design.
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Metcalfe, Paul N. "Learning and teaching the art of sound design: An analysis into determining best practices." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/102704/8/Paul_Metcalfe_Thesis.pdf.
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The aim of this study was to investigate the learning and teaching of sound design in higher education contexts. Two main aspects were examined: firstly, an investigation into published resources, addressing sound design as creative practice, and, secondly, an examination of the relationship between technical process and creative skills development within curriculum design. The perceived educational benefits were also investigated, of collaborative projects and other practical exercises, contrasting them with technical, skills-based learning. Finally, the study suggests avenues for future development that may provide better access to reference materials that support sound design students' development as creative, industry ready practitioners.
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Hoekstra, Nynke. "How to engineer a mood : A study of sound in audiovisual contexts." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-14120.
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“How to engineer a mood - A study of sound in audiovisual contexts” is a study on the perception of sound in audiovisual contexts, i.e. sound and the image combined. There seems to be a consensus among researchers in the field on the fact that music influences the interpretation on film. However, there does not seem to be a specific consensus in regards to other sounds than music, such as the human voice or sound effects. Guided by a set of theories, an audiovisual text will be analyzed, in part through results of a quasi-experimental pilot survey and partly by the author herself. This paper would like to contribute in making the relationship of different sounds in conjunction with the image become slightly clearer. The outcome will help to show how a mood can be created with sounds. Although there is a limited number of theoretical models that have been developed in this field of research, the theories that are introduced will hopefully help to create a better understanding of sound in audiovisual texts. Finally the theories and results will come together in this thesis; this will lead to an analysis and produce ideas for further research on how sound in audiovisual contexts influence our emotions. As mentioned before there has not been much research in this field, hopefully this thesis will be able to provide some clues and could serve as a first step for further research to find more definite answers on how emotions work in a audiovisual context. However, many questions will remain unanswered, and further research is needed to answer them.
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Greene, Liz. "Alan Splet and Sound Design : An archival study." Thesis, University of Ulster, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529533.
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Moore, David Robert. "Real-time sound spatialization, software design and implementation." Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419633.
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Flanders, David. "Lines in the sound : a regional approach to windfarm design and visualization in Howe Sound." Thesis, University of British Columbia, 2006. http://hdl.handle.net/2429/32497.
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Windfarming can provide a reliable, renewable source of energy; its visible presence in the landscape can generate
heightened awareness of energy use and sources. Sensitive integration of the technology with the environment is important
for promoting sustainability in the region; it must also address public concern for visual quality. This study addresses
the siting and design issues raised by proposed windfarms. Three windfarm design scenarios are thus developed and
visualized in 3D within the region of Howe Sound, including the town of Squamish, British Columbia. A number of North
American and European precedents are examined in terms of public education and acceptance, visual impacts, arrangement
and public involvement. Initially, eleven sites within the region are considered in total, based on stakeholder, community
and expert analysis. Site analysis is composed of a wind resource and visual inventory, and viewshed analysis.
This highlights the strengths and weaknesses of the potential sites. A series of principles identify cultural, aesthetic and
pragmatic rationale to guide the site selection process, and evaluating certain sites and designs as being better or worse
than others. Design criteria which are explicit and measurable are developed for these principles, providing targets for
site selection, informing design process and serving as a baseline for design analysis. Three favourable sites that will
best cater to these motivations are selected for windfarm design and visualization. These designs are quantitatively and
qualitatively assessed based on their adherence to the design criteria, and are ranked according to how well they satisfy
the aesthetic, cultural and pragmatic principles for windfarming. A set of final recommendations for Squamish are offered
that will facilitate planning and help to build citizen awareness building process for development of a wind resource industry
in the region.Applied Science, Faculty of
Architecture and Landscape Architecture (SALA), School of
Graduate
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Taylor, Jonathan Milo. "ImMApp : an immersive database of sound art." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5644/.
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The ImMApp (Immersive Mapping Application) thesis addresses contemporary and historical sound art from a position informed by, on one hand, post-structural critical theory, and on the other, a practice-based exploration of contemporary digital technologies (MySQL, XML, XSLT, X3D). It proposes a critical ontological schema derived from Michel Foucault's Archaeology of Knowledge (1972) and applies this to pre-existing information resources dealing with sound art. Firstly an analysis of print-based discourses (Sound by Artists. Lander and Lexier (1990), Noise, Water, Meat. Kahn (2001) and Background Noise: Perspectives on Sound Art. LaBelle (2006)) is carried out according to Foucauldian notions of genealogy, subject positions, the statement, institutional affordances and the productive nature of discursive formation. The discursive field (the archive) presented by these major canonical texts is then contrasted with a formulation derived from Giles Deleuze and Felix Guattari: that of a 'minor' history of sound art practices. This is then extended by media theory (McLuhan, Kittler, Manovich) into a critique of two digital sound art resources (The Australian Sound Design Project (Bandt and Paine (2005) and soundtoys.net Stanza (1998)). The divergences between the two forms of information technologies (print vs. digital) are discussed. The means by which such digitised methodologies may enhance Foucauldian discourse analysis points onwards towards the two practice-based elements of the thesis. Surface, the first iterative part, is a web-browser based database built on an Apache/MySQIlXML architecture. It is the most extensive mapping of sound art undertaken to date and extends the theoretical framework discussed above into the digital domain. Immersion, the second part, is a re-presentation of this material in an immersive digital environment, following the transformation of the source material via XSL-T into X3D. Immersion is a real-time, large format video, surround sound (5.ln.l) installation and the thesis concludes with a discussion of how this outcome has articulated Foucauldian archaeological method and unframed pre-existing notions of the nature of sound art.
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Ma, Jin Joo. "Dress-scape : wearing the sound of fashion." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2799/.
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Can a sound itself be a garment? This practice-led research explores the sound of garments and fashion, which is unheard, unspoken or overheard, to suggest a new perspective for reconsidering garments and fashion. Through experiments with making, wearing and displaying, the research examines the sound, voice or silence embedded in garments and fashion and affective experiences aroused from garments as atmospheric spaces. A new term, ‘dress-scape’, is introduced and discussed through a series of practical and theoretical approaches to the concept. The research suggests that the dress-scape of a garment emerges as the resonance of sound, voice, noise or silence from the interplay between the garment and the maker, the wearer or the viewer. As the research attempts to locate fashion in a new place, the practice varies significantly from that in conventional garments. The maker rather explores non-wearable garments, other artefacts, installation, film and sound-making using diverse mediums. The practice, in turn, oscillates between fashion and art practice. The journal entries exist as a documentation of the maker’s reflections on the research journey and contribute to the development of both practical and theoretical renderings of the research. Inspired by the notion of ‘tacet’ (broadly, ‘silence’) as used in John Cage’s work, 4’33”, the research aims to invite the reader, the viewer and the listener to be silent and to ‘listen’ to the research, together with the maker, who also acts as the author and the composer. Thus, rather than acting as a series of problem-solving investigations for knowledge acquisition, the research is essentially the journey of the investigation of the maker’s tacit awareness of other related issues including modernist artists, film, architecture, the relationship between fashion and art, and curatorial display. This, in turn, adds to the value of the practice-led research, elevating it to an interdisciplinary study.
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Françoise, Jules. "Motion-sound Mapping By Demonstration." Electronic Thesis or Diss., Paris 6, 2015. http://www.theses.fr/2015PA066105.
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Le design du mapping (ou couplage) entre mouvement et son est essentiel à la création de systèmes interactifs sonores et musicaux. Cette thèse propose une approche appelée mapping par démonstration qui permet aux utilisateurs de créer des interactions entre mouvement et son par des exemples de gestes effectués pendant l'écoute. Le mapping par démonstration est un cadre conceptuel et technique pour la création d'interactions sonores à partir de démonstrations d'associations entre mouvement et son. L'approche utilise l'apprentissage automatique interactif pour construire le mapping à partir de démonstrations de l'utilisateur. Nous nous proposons d’exploiter la nature générative des modèles probabilistes, de la reconnaissance de geste continue à la génération de paramètres sonores. Nous avons étudié plusieurs modèles probabilistes, à la fois des modèles instantanés (Modèles de Mélanges Gaussiens) et temporels (Modèles de Markov Cachés) pour la reconnaissance, la régression, et la génération de paramètres sonores. Nous avons adopté une perspective d’apprentissage automatique interactif, avec un intérêt particulier pour l’apprentissage à partir d'un nombre restreint d’exemples et l’inférence en temps réel. Les modèles représentent soit uniquement le mouvement, soit intègrent une représentation conjointe des processus gestuels et sonores, et permettent alors de générer les trajectoires de paramètres sonores continûment depuis le mouvement. Nous avons exploré un ensemble d’applications en pratique du mouvement et danse, en design d’interaction sonore, et en musiqueDesigning the relationship between motion and sound is essential to the creation of interactive systems. This thesis proposes an approach to the design of the mapping between motion and sound called Mapping-by-Demonstration. Mapping-by-Demonstration is a framework for crafting sonic interactions from demonstrations of embodied associations between motion and sound. It draws upon existing literature emphasizing the importance of bodily experience in sound perception and cognition. It uses an interactive machine learning approach to build the mapping iteratively from user demonstrations. Drawing upon related work in the fields of animation, speech processing and robotics, we propose to fully exploit the generative nature of probabilistic models, from continuous gesture recognition to continuous sound parameter generation. We studied several probabilistic models under the light of continuous interaction. We examined both instantaneous (Gaussian Mixture Model) and temporal models (Hidden Markov Model) for recognition, regression and parameter generation. We adopted an Interactive Machine Learning perspective with a focus on learning sequence models from few examples, and continuously performing recognition and mapping. The models either focus on movement, or integrate a joint representation of motion and sound. In movement models, the system learns the association between the input movement and an output modality that might be gesture labels or movement characteristics. In motion-sound models, we model motion and sound jointly, and the learned mapping directly generates sound parameters from input movements. We explored a set of applications and experiments relating to real-world problems in movement practice, sonic interaction design, and music. We proposed two approaches to movement analysis based on Hidden Markov Model and Hidden Markov Regression, respectively. We showed, through a use-case in Tai Chi performance, how the models help characterizing movement sequences across trials and performers. We presented two generic systems for movement sonification. The first system allows users to craft hand gesture control strategies for the exploration of sound textures, based on Gaussian Mixture Regression. The second system exploits the temporal modeling of Hidden Markov Regression for associating vocalizations to continuous gestures. Both systems gave birth to interactive installations that we presented to a wide public, and we started investigating their interest to support gesture learning
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Öqvist, Elin. "Noise pollution: How can we customize our sound experience?" Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135906.
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Aitken, James Stuart. "New models for expert system design." Thesis, University of Glasgow, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260569.
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Kostrova, Marina, and Victoria Yuri-Andersson. "Designing with Sound to Reduce Motion Sickness in VR." Thesis, Uppsala universitet, Institutionen för speldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414404.
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Motion sickness has been a significant obstacle for the development of Virtual Reality technology since the beginning of its existence. Research has shown that audio can be used to reduce motion sickness in VR. It has also been proven that binaural ambisonic audio can enhance a player’s feelings of immersion and spatial presence, which is known to correlate negatively with motion sickness. This study aims to determine if the application of spatialized binaural ambisonic audio in VR environments can make users feel less motion sick, by enhancing the feeling of presence, compared to environments that utilize regular stereo sound. To validate our hypothesis, two versions of the same VR environment were created: one with binaural ambisonic audio, and another with regular stereo audio. The data was collected with surveys that included both motion sickness-related and experience-related questions. The results indicate that binaural ambisonic audio helped to reduce motion sickness compared to regular stereo audio, even though testers did not show any clear preference for one type of sound over another.Rörelsesjuka har utgjort ett allvarligt hinder för utveckling av virtual reality-teknologi (VR) från dess tidigaste utvecklingsfas. Forskning har visat att ljud kan användas för reducering av rörelsesjuka i VR. Det har också påvisats att binauralt ambisoniskt ljud kan förstärka spelarens känsla av immersion och spatial närvaro, som har en negativ korrelation med rörelsesjuka. Denna studies syfte är att avgöra om användning av spatialt binauralt ambisoniskt ljud i VR-miljö kan reducera användarens rörelsesjuka, genom att förstärka känslan av närvaro, till skillnad från miljöer där rådande stereoteknologi används. Hypotesen testades genom att två versioner av samma VR-miljö skapades: ett med binauralt ambisonisk ljud och ett med vedertaget stereoljud. Insamlad data genom ett frågeformulär inkluderade även frågor rörande rörelsesjuka och tidigare erfarenhet av VR. Resultatet indikerar att binauralt ambisoniskt ljud reducerar rörelsesjuka, till skillnad från stereoljud, trots att testpersonerna inte visade på en tydlig preferens för den ena eller den andra ljudtypen.
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Nylen, Nick. "The Oxide Incident." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1492.
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My interest in sound-centric filmmaking and the literary genre of magical realism fostered the development of my thesis film, The Oxide Incident. The film is the story of Simon, a recent divorcee and sound archivist, who discovers a mysterious reel-to-reel-audio tape that he believes may help him heal his damaged relationship with Hannah, his teenage daughter. This paper examines the influence of magical realism on the film, some of its thematic, theoretical, and conceptual ideas such as its exploration of interpersonal communication and its implications in regard to gender, as well as some of its formal strategies. It concludes with a reflection on the process, a historical note, and a glimpse at my future trajectory as a filmmaker.
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VALLICELLI, ELIA ARTURO. "Design of Mixed-Signal Electronic Instrumentation for Proton Sound Detectors." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2021. http://hdl.handle.net/10281/301978.
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La tecnica acustica di verifica sperimentale del range di protoni (ionoacustica) si basa sul rilevamento del debole segnale termoacustico emesso dalla rapida deposizione di energia che avviene alla fine range del fascio, in corrispondenza del picco di Bragg. In questo contesto, questa tesi presenta le principali caratteristiche della strumentazione microelettronica utilizzata per i Proton Sound Detector introducendo specifiche tecniche di progettazione fortemente orientate sia alla massimizzazione del Rapporto Segnale Rumore SNR (a livello di sensore acustico) che minimizzazione della figura di rumore (a livello di amplificatore analogico).
La prima parte di questa tesi tratta delle sfide strumentali relative agli esperimenti ionoacustici fornendo dettagli tecnici specifici riguardanti sia la progettazione del sensore acustico (ovvero come costruire il sensore massimizzando l'SNR) sia il design dell'amplificatore a basso rumore (LNA).
Verranno presentati i risultati sperimentali di un primo esperimento effettuato presso il Laboratorio Maier-Leibniz di Garching, Monaco, con un fascio di protoni a 20 MeV (scenario preclinico) e verrà mostrato come una progettazione elettronica dedicata a segnali misti permetta di migliorare significativamente il rapporto segnale-rumore e l'accuratezza della localizzazione del picco di Bragg di 6 dB.
In questo contesto, questo primo sviluppo del rivelatore raggiunge due importanti obiettivi: il miglioramento dell'SNR a parità di dose e una forte semplificazione della strumentazione del rivelatore rispetto allo stato dell'arte, consentendo una maggiore precisione della misurazione dell'impulso acustico, e allo stesso tempo incrementando la portabilità e la compattezza del dispositivo.
Nelle applicazioni cliniche di adroterapia, l'energia del fascio (da 65 MeV fino a 200 MeV) e la dose vengono scelte in funzione dello specifico scenario clinico. Ciò comporta segnali acustici di ampiezza e larghezza di banda diverse, costringendo l’adozione di soluzioni tecnologiche avanzate in grado di gestire un ampio spettro di segnali in termini di larghezza di banda, ampiezza e rumore. Per questo motivo, la seconda parte di questa tesi propone un modello Matlab efficiente e innovativo del fenomeno fisico ionoacustico, che condensa in un unico sistema lineare tempo invariante tutti i processi di conversione dell'energia coinvolti. Il modello ionoacustico proposto sostituisce i complessi strumenti di simulazione classici (usati per caratterizzare il segnale acustico indotto dal fascio di protoni) e facilita lo sviluppo di rivelatori dedicati fornendo una descrizione precisa del segnale acustico nei diversi scenari.
Infine, verrà presentato il progetto di una seconda versione del Proton Sound Detector che introduce il concetto di media nel dominio dello spazio (invece della media nel dominio del tempo, basata sull’elaborazione di più shot del fascio che comporta una significativa extra-dose). Questo rilevatore utilizza un sensore multicanale per eseguire una media spaziale dei segnali acquisiti e aumentare l'SNR di 18 dB a parità di dose rispetto al classico approccio monocanale. Questo approccio tuttavia richiede lo sviluppo di elettronica altamente miniaturizzata che non può essere implementata con componenti standard su circuiti stampati. Viene quindi presentato il progetto e la caratterizzazione di un front-end analogico multicanale implementato su un Application-Specified-Integrated-Circuit (ASIC) in tecnologia CMOS 28 nm che permette di elaborare in parallelo tutti i 64 canali del sensore acustico. Questo High-Resolution Proton Sound Detector (HR-ProSD) è completato da un circuito digitale dedicato implementato su FPGA (Field Programmable Gate Array) che consente di mappare in tempo reale e 2D la deposizione di dose nello spazio.Acoustic proton range experimental verification technique (iono-acoustics) is based on sensing the weak thermoacoustic signal emitted by the fast energy deposition (and/or the heating process) at the end of the beam range (Bragg Peak). In this context, this thesis presents the main characteristics of the micro-electronics instrumentation used for proton sound detectors introducing specific design techniques strongly oriented to both maximization of the acoustic Signal-to-Noise-Ratio (at the Acoustic Sensor level) and Noise-Figure minimization (at analog amplifier level). The first part of this thesis addresses all the instrumentation challenges related to iono-acoustic experiments providing specific technical details regarding both acoustic sensor design (i.e. how to build the sensor while maximizing the SNR) and the LNA design. The experimental results of a first experiment carried out at Maier-Leibniz Laboratory in Garching, Munich, with a proton beam at 20 MeV (sub-clinical energy) will be presented and it will be shown how a dedicated mixed-signal electronics design allows to significantly improve the signal-to-noise ratio and the accuracy of the BP localization by 6 dB. In this context, this first detector development achieves two important objectives: the improvement of the acoustic SNR and a strong simplification of the detector instrumentation w.r.t. state-of-the-art, enabling increasing accuracy of the acoustic pulse measurement, and at the same time the portability and compactness of the device. In clinical hadron-therapy applications, variable beam energy (from 65 MeV up to 200 MeV) and variable doses are used as a function of the selected medical treatment. This induces different acoustic pulses amplitude and bandwidth, forcing advanced technological solutions capable of handling a wide spectrum of signals in terms of bandwidth, amplitude, and noise. For this reason, the second part of this thesis proposes an efficient and innovative Matlab Model of the ionoacoustic physical phenomenon, based on englobing in a single mathematical Linear-Time-Invariant-System all energy conversion processes involved in iono-acoustics. The proposed ionoacoustics model replaces classical and complex simulation tools (used to characterize the proton induced acoustic signal) and facilitates the development of dedicated detectors. Finally, the design of a second version of the Proton Sound Detector will be presented that introduces the concept of space-domain averaging (instead of time-domain averaging based on multiple beam shot processing for noise attenuation and thus extra-doses). This detector uses a multi-channel sensor to perform a spatial average of the acquired signals and increase the SNR by 18 dB at the same dose compared to the classic single channel approach. This approach however requires the development of highly miniaturized electronics that cannot be implemented with off-the-shelf components on Printed Circuit Boards. The design and characterization of a multichannel analog front-end implemented on a CMOS 28 nm Application-Specified-Integrated-Circuit (ASIC) which allows to process the 64 channels of the acoustic sensor in parallel is then presented. This High-Resolution Proton Sound Detector (HR-ProSD) is completed by digital circuits implemented on Field Programmable Gate Array (FPGA) that allow to locate in real time the deposition of energy in space.
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Françoise, Jules. "Motion-sound Mapping By Demonstration." Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066105/document.
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Le design du mapping (ou couplage) entre mouvement et son est essentiel à la création de systèmes interactifs sonores et musicaux. Cette thèse propose une approche appelée mapping par démonstration qui permet aux utilisateurs de créer des interactions entre mouvement et son par des exemples de gestes effectués pendant l'écoute. Le mapping par démonstration est un cadre conceptuel et technique pour la création d'interactions sonores à partir de démonstrations d'associations entre mouvement et son. L'approche utilise l'apprentissage automatique interactif pour construire le mapping à partir de démonstrations de l'utilisateur. Nous nous proposons d’exploiter la nature générative des modèles probabilistes, de la reconnaissance de geste continue à la génération de paramètres sonores. Nous avons étudié plusieurs modèles probabilistes, à la fois des modèles instantanés (Modèles de Mélanges Gaussiens) et temporels (Modèles de Markov Cachés) pour la reconnaissance, la régression, et la génération de paramètres sonores. Nous avons adopté une perspective d’apprentissage automatique interactif, avec un intérêt particulier pour l’apprentissage à partir d'un nombre restreint d’exemples et l’inférence en temps réel. Les modèles représentent soit uniquement le mouvement, soit intègrent une représentation conjointe des processus gestuels et sonores, et permettent alors de générer les trajectoires de paramètres sonores continûment depuis le mouvement. Nous avons exploré un ensemble d’applications en pratique du mouvement et danse, en design d’interaction sonore, et en musiqueDesigning the relationship between motion and sound is essential to the creation of interactive systems. This thesis proposes an approach to the design of the mapping between motion and sound called Mapping-by-Demonstration. Mapping-by-Demonstration is a framework for crafting sonic interactions from demonstrations of embodied associations between motion and sound. It draws upon existing literature emphasizing the importance of bodily experience in sound perception and cognition. It uses an interactive machine learning approach to build the mapping iteratively from user demonstrations. Drawing upon related work in the fields of animation, speech processing and robotics, we propose to fully exploit the generative nature of probabilistic models, from continuous gesture recognition to continuous sound parameter generation. We studied several probabilistic models under the light of continuous interaction. We examined both instantaneous (Gaussian Mixture Model) and temporal models (Hidden Markov Model) for recognition, regression and parameter generation. We adopted an Interactive Machine Learning perspective with a focus on learning sequence models from few examples, and continuously performing recognition and mapping. The models either focus on movement, or integrate a joint representation of motion and sound. In movement models, the system learns the association between the input movement and an output modality that might be gesture labels or movement characteristics. In motion-sound models, we model motion and sound jointly, and the learned mapping directly generates sound parameters from input movements. We explored a set of applications and experiments relating to real-world problems in movement practice, sonic interaction design, and music. We proposed two approaches to movement analysis based on Hidden Markov Model and Hidden Markov Regression, respectively. We showed, through a use-case in Tai Chi performance, how the models help characterizing movement sequences across trials and performers. We presented two generic systems for movement sonification. The first system allows users to craft hand gesture control strategies for the exploration of sound textures, based on Gaussian Mixture Regression. The second system exploits the temporal modeling of Hidden Markov Regression for associating vocalizations to continuous gestures. Both systems gave birth to interactive installations that we presented to a wide public, and we started investigating their interest to support gesture learning
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Jerner, Joel. "On Exaggeration of Sound Detail as a Way of Affecting Perceived Realism in Sound Effects and Musical Instruments." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74758.
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Based on previous research into realism in sound effects, this experiment was intended to study the effect of exaggerating minor details as a way of increasing perceived realism in sound effects. To do this, a framework for discussing components and subcomponents of sounds was constructed and a listening test designed using the framework was conducted. A two-way repeated measures ANOVA was used to measure the two main effects exaggeration (yes/no) and sound type (musical/non-musical). There was no effect of exaggeration by itself (p = 0.224). Musical sounds were perceived to be more realistic than non-musical sounds (p = 0.004). There was some evidence (p = 0.102), non-significant but interesting, of an interaction effect but it cannot be declared with confidence.
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Gilmurray, Jonathan. "Ecology and environmentalism in contemporary sound art." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.
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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of 'ecological sound art' will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.
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Mulder, Axel G. E. "Design of virtual three-dimensional instruments for sound control." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/NQ37736.pdf.
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Livingstone, Dan. "Design strategies for adaptive social composition : collaborative sound environments." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/1252.
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In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingstone
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Polfreman, Richard. "User-interface design for software based sound synthesis systems." Thesis, University of Hertfordshire, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363503.
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Tavakoli, Nia Hadi. "Acoustic function of sound hole design in musical instruments." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61924.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 69-70).
Sound-hole, an essential component of stringed musical instruments, enhances the sound radiation in the lower octave by introducing a natural vibration mode called air resonance. Many musical instruments, including those from the violin, lute and oud families have evolved complex sound-hole geometries through centuries of trail and error. However, due to the inability of current theories to analyze complex sound-holes, the design knowledge in such sound-holes accumulated by time is still uncovered. Here we present the potential physical principles behind the historical development of complex sound-holes such as rosettes in lute, f-hole in violin and multiple sound-holes in oud families based on a newly developed unified approach to analyze general sound-holes. We showed that the majority of the air flow passes through the near-the-edge area of the opening, which has potentially led to the emergence of rosettes in lute family. Consequently, we showed that the variation in resonance frequency and bandwidth of different traditional rosettes with fixed outer diameter is less than a semitone, while the methods based on the total void area predicts variations of many semitones. Investigating the evolution of sound-holes in violin family from circular geometry in at least 10th century to the present-day f-hole geometry, we found that the evolution is consistent with a drive toward decreasing the void area and increasing the resonance bandwidth for a fixed resonance frequency. We anticipate this approach to be a starting point in discovering the concepts behind the geometrical design of the existing sound-hole geometries, and helping the musicians, instrument makers and scientists utilize this knowledge to design consistently better instruments.
by Hadi Tavakoli Nia.
S.M.
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Holding, John Michael. "Design optimization and evaluation of integrating sound level meters." Thesis, Sheffield Hallam University, 1987. http://shura.shu.ac.uk/19810/.
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Previous work has shown that the risk of hearing loss is related to the cumulative sound energy received by the ear. The instrument which computes a measure of this parameter is an integrating sound level meter (ISLM). Optimum design requirements for ISLMs which meet a variety of demanding specifications have been determined. Evaluation procedures have been proposed and the necessary specialized tone burst signal sources have been designed. An early survey of instruments which were available revealed serious shortcomings in their ability tointegrate accurately a typical impulsive signal. The aim of this work was to determine and critically evaluate the limiting mechanism, and to subsequently investigate design strategies leading to high performance instruments. Techniques for extending the performance of several standard circuits have been developed. In addition, a novel method for storing data in analogue and digital form and subsequently recovering a continuous output has been developed and is fully described. Combinations of analogue, random logic and microprocessor-based techniques have been investigated. Complete instruments which utilize different combinations have been designed and evaluated. The optimum performance for an instrument which meets the highest specification is shown to be achieved by the use of analogue techniques for the majority of the signal processing, with a combination of random logic and microprocessor-based techniques for control and data storage.
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Prescott, Tom. "Sound design, composition and performance with interactive genetic algorithms." Thesis, Keele University, 2018. http://eprints.keele.ac.uk/5030/.
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A variety of work has been carried out investigating the suitability of interactive genetic algorithms (IGAs) for musical composition. There have been some promising results demonstrating that it is, in principle, an effective approach. Modern sound synthesis and processing techniques (SSPTs) are often very complex and difficult to use. They often consist of tens or hundreds of parameters and a large range of values can be assigned to each parameter. This results in an immense number of parameter combinations; listening to the result of each one is clearly not viable. Furthermore, the effect each parameter has on the audio output may not be immediately obvious. Effectively using these systems can require a considerable time commitment and a great deal of theoretical knowledge. This means that in many cases these techniques are not being used to their full potential. IGAs offer a solution to this problem by providing a user with a simpler, more accessible interface to a range of SSPTs. This allows the user to navigate more effectively through the parameter space and explore the range of materials which can be generated by an SSPT. This thesis presents compositions and software that investigate a range of approaches to the application of IGAs to sound design, composition and performance. While investigating these areas, the aim has been to overcome the limitations of previous IGA based systems and extend this approach into new areas. A number of IGA based systems have been developed which allow a user to develop varied compositions consisting of diverse and complex material with minimal training.
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Alkacir, Hakan. "Sound in motion : Ljud, musik och aktivitet." Thesis, Konstfack, Industridesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5845.
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Glenn, Matthew Robert. "The Modern Sound Designer in a Theatrical Team." Thesis, University of California, Irvine, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562350.
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Sound design is a comparatively young member of the theatrical design family. Computer technology for sound and music, much of which emerged over this past decade, continues to become cheaper and more widely available, making intricate sonic designs more accessible now than in the past for designers and theaters alike. While this is a big step for the art of sound design, the field is still adolescent in comparison to the scenic, costume, and lighting design fields. Sound design has become a regular part of the creation of modern theatre; that said, modern sound designers might collaborate with other theater professionals who trained without significant collaboration with or influence from sound designers and sound design. As such, collaborative practices between a sound designer and the rest of a theatrical team continue to develop. Through this thesis, I hope to provide a comprehensive snapshot of the role of sound design and sound designers in modern theatre, and to illuminate important strategies for successful collaboration between sound designers and a theatrical team.
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Maguire, Paul T. "Integrated computer aided design software for acoustic transducers." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329549.
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Mijouin, Lola. "Invisible Aesthetics of Noise." Thesis, Konstfack, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6856.
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Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ? Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?
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VISMARA, GIULIA. "Corrispondenze e interazioni tra suono spazio e corpo, strategie per un design sonoro dello spazio." Doctoral thesis, Università IUAV di Venezia, 2020. http://hdl.handle.net/11578/287422.
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Con il diffondersi di tecnologie sofisticate e al contempo facilmente accessibili per la registrazione e la riproduzione surround del suono, emergono pratiche sonore eterogenee in cui l'impatto e la complessità della dimensione spaziale diventano parte integrante del processo di progettazione. Pertanto, grazie alla possibilità di ricreare un sound field sempre più simile a quello che ci circonda, l’esperienza dello spazio e’ espansa (dal suono) e al contempo predeterminata da risultati matematici, strategie compositive e modalità di ascolto specifiche. Si evidenzia, quindi come le tecnologie di integrazione del suono e dello spazio implichino una riconfigurazione delle interazioni tra spazio, suono e corpo. La proliferazione di questi metodi e sistemi conduce così alla necessità di una riflessione ontologica sulla natura stessa dello spazio, sulla sua interrelazione con lo spazio fisico di proiezione e con il corpo. La tesi qui di seguito presentata, si basa sugli approcci tra teoria e pratica specifici della musica elettroacustica, della sound art e del sound design, mirando però ad individuare le corrispondenze già esistenti e a delinearne di nuovi implementando un quadro transdisciplinare. L’analisi si inserisce in quella sfera relativamente recente di opere e autori che cercano di orientarsi al di là del paradigma binario di soggetto e oggetto, spazio e tempo, natura e cultura, mente e corpo, umano e non umano, reale e virtuale, per abbracciare una prospettiva ecologica che tiene conto della complessità delle relazioni dinamiche e dell’influenza reciproca tra gli elementi. La mappatura realizzata permette dunque di formulare un modello teorico tripartito, basato sul macro-concetto di spazio complesso, che a sua volta genera uno spazio potenziale da cui, a seconda delle interazioni attivate tra spazio corpo e suono, sono generate tre diverse tipologie di spazio. Per verificare il modello formulato, le tre categorie spaziali sono accompagnate da relativi esempi sonori. Il contesto così delineato contribuisce a creare un terreno fertile per ripensare i concetti e sviluppare strategie alternative per la pratica della composizione spaziale sonora.
Si propongono infine due prototipi in via di sperimentazione: il primo legato alla stimolazione della sensazione di spazialità’, attraverso una composizione creata per mezzo di uno specifico sistema di spazializzazione 3D, mentre il secondo e’ un progetto collaborativo che riguarda l’investigazione della dimensione sonora nello spazio urbano.
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Villez, Pere. "An alternative design framework for the generation of sound particles." Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/an-alternative-design-framework-for-the-generation-of-sound-particles(e50d1b68-b95b-42c0-9360-b48924812e57).html.
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This research contributes to an empirical design analysis framework for informing the implementation of a type of microsound synthesis called Particle Synthesis (PS). Microsounds are sound particles with a duration typically lasting from thethreshold of perception up to ~100ms (Roads, 2001a). Microsound synthesis software is popular in music production and is used for processing audio. PS, however, still remains relatively unknown to composers and only recently have independent developers made PS available on popular computer platforms. Variations in implementation, however, disguise similar underlying techniques and produce inconsistencies. Perhaps this is because independent developers (often individual researchers/hobbyists) lack the development formalities of large software corporations. Although different sound classes are generated by PS systems, they share very similar parametric features. However, parameters, which are key in one system,are commonly implemented partially or omitted in another. In order to obtain a wider more flexible range of microsound sound classes, users have to operate several of the systems simultaneously across incompatible operating systems and environments. To address this situation, this thesis examined the questions as to what specific functional and usability criteria might inform new PS designs and whether this criteria and consequent design framework would be successful in informing new PS artefacts. Key theoretical foundations of microsound techniques are identified, and their use in 20th century music composition examined. PS techniques lack a specific design framework. However, Jaffe (1995) proposed criteria to assess general synthesiser technologies, and design analysis principles called Cognitive Dimensions (CDs) were revealed which help evaluate the design of information artefacts including software synthesisers. Many elements of Jaffe's criteria may be viewed as industrial design principles, which may be generalised into microsound synthesis criteria. By combining the CDs framework with the new microsound artefact criteria and operationalising them as variables, an empirical analysis framework for studying usability factors of PS software was made possible. Furthermore, these can be applied to the functional elements of design. Subsequently, empirical studies were conducted in which seven identified PS implementations were quantitatively assessed against the new microsound criteria in order to ascertain the weight of individual usability and functional characteristics across the systems. The collated results from the studies confirmed that many common usability and functional features exist. They further revealed uneven and incomplete implementation of features for composition of sound particles over multiple timescales, and seamless manipulation of continuous and discrete particle sound streams. The results were collated in order to establish specific design goals and used to implement and adapt a prototype PS compositional system called the Elementary Signal Engine (ESE), which includes the common and disparate features of the systems studied. This is the ancillary contribution to this work. The success of the new MS design analysis framework is subsequently evaluated by studying the ESE artefact using the same analysis framework against the design goals established from the original seven PS artefact analyses.