Academic literature on the topic 'Sound installations (art)'
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Journal articles on the topic "Sound installations (art)"
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Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk, and Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models." Postmodern Openings 13, no. 2 (June 24, 2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.
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Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations.
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Fraisse, Valérian, Nadine Schütz, Catherine Guastavino, Marcelo Wanderley, and Nicolas Misdariis. "Informing sound art design in public space through soundscape simulation." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 4 (February 1, 2023): 3015–24. http://dx.doi.org/10.3397/in_2022_0424.
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Urban sound management often amounts to reducing sound levels with the underlying assumption of sound/noise as a nuisance. However, a reduction in sound level does not necessarily lead to a more pleasant auditory experience, especially in urban public spaces where vibrancy can be sought after. A proactive design approach that accounts for the human experience of sound environment is needed to improve the quality of urban spaces. Recent studies in soundscape research suggest that added sound and particularly sound art installations can have a positive influence on public space evaluations. Yet, the role of added sounds in urban context remains understudied and there is no existing method to date to inform sound art composition in public space through soundscape simulation. We present here a research-creation collaboration around the design of a permanent sound installation in an urban public space in Paris: Nadine Schütz's Niches Acoustiques. We report on a series of listening tests involving High-Order Ambisonic soundscape simulations of different prototypes to inform the sound artist's composition in order to optimize the quality of public space experience in the presence of the sound installation.
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Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (December 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.
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ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosenfeld’s visual and sonic objects in a recent exhibition, this article explores the manner in which sound-based installation art affords an opportunity to grasp music’s dispersed object-hood as it circulates through and across materials, feelings, and spaces. The author argues that Rosenfeld’s installation practice reveals both music and sonic experience more broadly to be a multimedia, collaborative activity, and affords an opportunity to, in the words of Will Straw, trace the inescapable manner in which sound’s “technologies and assemblages” contribute to its shared social “meaning, affect, and memory.”
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Thompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art." Leonardo Music Journal 25 (December 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.
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Black Field Plates (2014) is a series of sound installations. The series is an investigation into the politics of emergent sound composition. By imitating the ways in which natural systems organize matter, these sound installations self-organize sound and compose music.
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Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (July 7, 2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.
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Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By applying this musical perspective to macro-scale formal structures, a set of tools and concepts become available for the analysis of temporal form in existing sound or audiovisual installations. Using practice-based observation and analysis, I describe several compositional strategies through which musical concepts of material and form can be extended in space and time: each of these strategies provides means with which to shape or constrain the visitor’s co-production of experiential form. Finally, I discuss several strategies that can be used for the creation of large-scale form, with particular reference to algorithmic design principles used in my recent audiovisual installation, Room Dynamics.
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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.
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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.
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Lacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations." Organised Sound 21, no. 2 (June 30, 2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.
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This article investigates the approaches and attributes of publicly situated sound installations which have achieved the status of permanency, and have attracted ongoing local, and even international, visitors. The article draws on international fieldwork in 2015 that documented several enduring sound installations in the United States, UK and Europe. Through an inductive process including listening exercises, sound recordings, observations and interviews, the analysis identifies three approaches to creating sound installations and ten attributes of operative sound installations. It is argued that by encouraging public listening, the discussed sound installations successfully establish a sensory connection between people and their environments. By extension, it is argued that this emergent sense of place is commensurate with the installations’ capacity to augment a pre-existing ‘spirit of place’. These findings culminate in a sonic placemaking tool for situating sound art installations in urban spaces. It is suggested that urban planners and designers can apply the presented sonic placemaking tool to augment a site’s spirit of place, thereby affecting new experiences in everyday urban life.
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Dziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 114–31. http://dx.doi.org/10.2478/prm/2022-0003.
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ABSTRACT Through Play to Sound Sources—A Contribution to Research ofLidia Zielińska’s Sound Installations Sound installations have been present in Polish music since the 1960s when the first “spatial-musical compositions” were presented by Zygmunt Krauze. His innovative activities hadn’t found followers in the Polish musical community for quite a while, but in the 1980s composers started to be more and more interested in multimedia forms engaging recipients into an active participation. Among these artists was Lidia Zielińska—a composer willingly exploring the sonoristic possibilities of both traditional instruments and electroacoustic ones. A big importance into the formation of her individual composition language was getting familiar with Raymond Murray Schafer’s ideas, meetings with this Canadian composer and promoting his thought into the polish community. An important current of her creative activities were also the actions focused on children. All these mentioned aspects can be seen in her installations that—according to the assumptions of Łukasz Guzek, a researcher of 20th and 21st-century art—inextricably combine the questions of space and presence. In terms of sound, these projects and not-installation Zielińska’s creations merge into a coherent whole: a space to explore problems related to sound’s essence and sources, as well as acoustic ecology. This article describes in more detail the following sound installations of Lidia Zielińska, including their composition assumptions and way of realizing the elements characterising the installation forms: Muzyka potencjalna [nr 1]. Spiskowa teoria dźwięku (1988), Projekt dla końca korytarza (1994), Alles gab’s schon mal/Wszystko już było (2006), Lutosławski DIY (2013), Plasterki muzyki (2013), Looks Chinese, Sounds Polish (2013) and Polish Sonorities (2014).
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Dziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 114–31. http://dx.doi.org/10.2478/prm-2022-0003.
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ABSTRACT Through Play to Sound Sources—A Contribution to Research ofLidia Zielińska’s Sound Installations Sound installations have been present in Polish music since the 1960s when the first “spatial-musical compositions” were presented by Zygmunt Krauze. His innovative activities hadn’t found followers in the Polish musical community for quite a while, but in the 1980s composers started to be more and more interested in multimedia forms engaging recipients into an active participation. Among these artists was Lidia Zielińska—a composer willingly exploring the sonoristic possibilities of both traditional instruments and electroacoustic ones. A big importance into the formation of her individual composition language was getting familiar with Raymond Murray Schafer’s ideas, meetings with this Canadian composer and promoting his thought into the polish community. An important current of her creative activities were also the actions focused on children. All these mentioned aspects can be seen in her installations that—according to the assumptions of Łukasz Guzek, a researcher of 20th and 21st-century art—inextricably combine the questions of space and presence. In terms of sound, these projects and not-installation Zielińska’s creations merge into a coherent whole: a space to explore problems related to sound’s essence and sources, as well as acoustic ecology. This article describes in more detail the following sound installations of Lidia Zielińska, including their composition assumptions and way of realizing the elements characterising the installation forms: Muzyka potencjalna [nr 1]. Spiskowa teoria dźwięku (1988), Projekt dla końca korytarza (1994), Alles gab’s schon mal/Wszystko już było (2006), Lutosławski DIY (2013), Plasterki muzyki (2013), Looks Chinese, Sounds Polish (2013) and Polish Sonorities (2014).
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Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.
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The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.
Dissertations / Theses on the topic "Sound installations (art)"
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Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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Cranfield-Rose, James (Brady). "Writing about Six Sounds Works /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.
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Miller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
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Hull, Aaron Coates. "Corroded memories." Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.
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This thesis seeks to examine the concept of the corroded memory, an idea that has driven the development of a large body of original creative work which includes performances, compact disk recordings, audio walks and video installations. I have completed this work during the last four years of part time study as a Master of Arts - Research student, enrolled at the University of Wollongong, Faculty of Creative Arts.In this thesis I examine, analyse and provide a context for a variety of publicly presented sound andvideo works. The conceptual framework and intent, together with the compositional techniques employed in each work are documented along with a self-evaluation of the various failures and successes of these works. Where necessary I will allude to references of work and ideas by other artists, composers and musicians who have influenced my work.This thesis was written to clarify ideas that are central to my folio of creative and curatorial work. My folio can be found on companion music CDs and DVDs. The text of the thesis which includes five appendices with a more detailed description of each work will have most significance for those readers who refer to the documented performances supplied on recorded media.
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Williams, Carolyn. "Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /." AUT University, 2007. http://hdl.handle.net/10292/136.
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This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on 'voice' as a way in which to explore these concepts through visual means. Voice is considered as something which projects or articulates or otherwise could be described as 'speaking'. For example voice is considered in relation to thought, and also the human experience of sound in space. This includes sound generated by self, intrinsic and extrinsic to the body. Voice plays two roles - one as a space from which to retrieve the unseen, and the other as a drawing tool - a way in which to represent what seems unrepresentable.
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Woods, Linda Del. "Seven sacred spaces : an intertextual investigation." Thesis, Queensland University of Technology, 2002.
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This exegesis is the intertextual investigation of the work, Seven Sacred Spaces. It is a multilayered text documenting the process that occurred as both the work and the artist evolved and the dialogue that transpired between
the theory, the work and the artist.
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Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Electronic Thesis or Diss., Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913.
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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette démarche est de laisser l'auditeur interagir avec le système au travers de personnages non joueurs (PNJ). Un tel choix témoigne de l'évolution du rôle du compositeur depuis la construction d’une œuvre linéaire et déterministe vers celle d’une œuvre ouverte et non déterminisme. Pour une pièce donnée, le créateur laisse à l’interacteur un certain degré de liberté et au système un certain degré d'autonomie.Nous débutons ce travail par un état de l'art couvrant divers domaines, de l'art interactif aux agents intelligents.Le troisième chapitre est consacré à l'analyse des pièces interactives conçues par des musiciens, plasticiens, designers de jeux. De cette analyse, nous dégageons un ensemble de critères de classification et nous plaçons ces œuvres d'art dans un triangle Concepteur/Interacteur/Système (C.I.S.). La position d’une œuvre dans ce triangle détermine la latitude que laisse le concepteur aux deux autres protagonistes.Le quatrième chapitre pose la problématique de cette thèse. Nous sommes partis du fait qu’une méthode et à fortiori des outils informatiques sont souvent liés à un style d’écriture. L’histoire des outils d’écriture informatique, jusqu’aux moteurs de jeux vidéo, reflète des visions différentes de ce qu’est la notion d’interactivité dans un domaine et à une époque donnée. Nous proposons ici que le concepteur puisse prendre le point de vue d’un des deux autres protagonistes: l’interacteur ou les PNJ. Ceci aboutit à deux styles que nous appelons le style scripté d’une part et le style émergent d’autre part. Nous comparons ces styles d’un point de vue de l’écriture dans les jeux, de la notion de narrateur, de l’ouverture de l’œuvre et du style de programmation. Cette première comparaison formelle ne permet pas de tirer des conclusions convaincantes. Le cinquième chapitre est consacré à la conception et au développement d’une même installation, Le promeneur écoutant, selon les deux styles cités au chapitre précédent. La version scriptée a été réalisée dans le cadre du projet Terra Dynamica. Nous en proposons une seconde écriture en style émergent et comparons le résultat des deux approches. Nous parcourons l’ensemble des étapes de conception et de réalisation, de la spécification informelle à la programmation. Nous analysons du point de vue du concepteur ces deux styles. Nous montrons que le style émergent, séduisant à priori, aboutit à une complexité de création et de mise en œuvre très importante. Dans les deux cas, les lacunes et besoins en matière de méthodes et d’outils sont mis en évidence.Dans la conclusion, ce travail d’expérimentation est complété par une enquête donnant le point de vue de plusieurs concepteurs d’œuvres interactives sur notre problématique. Nous concluons par une synthèse de ce travail et une analyse de ses développements possibles tant sur le plan conceptuel de l’écriture que sur le développement d’outils auteursThe author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
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Silva, Lilian Campesato Custódio da. "Arte sonora: uma metamorfose das musas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-17062008-152641/.
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Esta pesquisa tem o objetivo de realizar um mapeamento de questões presentes em um conjunto de obras que, a partir de meados da década de 1970, vêm se agrupando sob o termo - arte sonora. Para tanto, este trabalho parte de uma aproximação com o repertório, na medida em que realiza um levantamento e análise, por meio de bibliografia, discografia, catálogos de obras e outras fontes, abordando o trabalho de vários artistas que se destacam nesse âmbito, bem como apontando diversas questões extraídas desse primeiro passo. A partir daí, constatou-se que esse repertório é bastante amplo e divergente, e que a delimitação desse campo pode ser apenas aproximada. Porém, para a realização de um mapeamento do ideário da arte sonora, foi estabelecido um levantamento e análise de obras de artistas que, de uma forma ou outra, influenciaram esse processo. Três referências fundamentais são levantadas e abordadas: a Música Eletroacústica, a Installation Art e a Performance Art. Posteriormente a pesquisa concentrou-se no que, no decorrer da dissertação, chamamos de arte sonora e a partir daí, extraiu-se cinco aspectos considerados fundamentais para a análise e compreensão desse repertório. São eles: Sonoridade, Tecnologia, Interação, Espaço e Tempo.The main purpose of this research is to map the central aspects that can be observed in a representative repertoire of art works that since the 70\' is been labeled Sound Art. This work starts from the research and analysis of this repertoire based on the available bibliography, audiography, exhibitions\' catalogues and other sources. A representative number of artists are investigated and their work analyzed. From this research it becomes evident that this repertoire is extremely large ample and divergent, and that the delimitation of this field is a difficult task. However, for the accomplishment of a mapping of the main concepts that area related to Sound Art, we proceeded the analysis of a number of works. Three basic references are investigated: Electroacoustic Music; Installation Art and Performance. Afterward the research investigated five aspects that we consider to be of fundamental importance to the comprehension of this repertoire: Sound, Technology, Interaction, Space and Time
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Greated, Marianne. "Painting in a sonic environment." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.
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The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one another and in particular focuses on installations in extreme acoustic spaces, such as anechoic and reverberation chambers. It investigates how introducing sound to the painting arena can affect the reading and also transform the parameters of the painting. The research is practice-based and takes the form of a series of exhibitions, latterly in the form of site-specific installations, which have been evaluated, interpreted and responded to. This has led to a fundamental investigation, both practical and theoretical, into the way that sound and vision work together and how they relate within the context of art. Through the research the format of the painting developed in tandem with the temporal and audio considerations, resulting in all-encompassing installations bringing together panoramic paintings and 3D soundscapes.
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Centola, Nicolau André Campanér [UNESP]. "Anthemusa: o som e o acaso em ambientes sonoros." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139563.
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Esta tese de doutorado parte da hipótese de que a incorporação consciente do acaso no processo criativo artístico que envolve a arte sonora é um elemento fundamental para a configuração de uma estética própria na atualidade. Para testar esta hipótese, foi analisada a aplicação do acaso nas artes sonoras a partir do século XX e suas implicações na produção de linguagem baseada neste conceito utilizando dispositivos computacionais. Como consequência deste estudo, foi proposto o desenvolvimento e a implementação de uma instalação sonora, chamada Anthemusa, na qual foram aplicados os preceitos do acaso como elemento principal de criação artística.
This doctoral thesis develops from the hypothesis that the conscious incorporation of chance in sound art’s creative process is a key element in the configuration of its aesthetic. In order to test this hypothesis, we analyse twentieth century sound art and its use of computational devices. As a consequence of this study, we propose the development of a sound installation entitled Anthemusa that, invariably, applies the precepts of chance as its central element.
Books on the topic "Sound installations (art)"
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Auinger, Sam, and Erwin Stache. Bonn hoeren: Stadtklangkunst = urban sound art. Bonn: Beethovenstiftung, 2012.
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Hannover, Kunstverein, ed. David Claerbout: Video works, photographic installations, sound installations, drawings 1996-2002. Brussels: A Prior, 2002.
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Ganter, Jo. Drawing sound. Woodstock, NY: Woodstock Byrdcliffe Guild, 2017.
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Minard, Robin. Robin Minard, 4: Vier Räume/vier Installationen = four spaces/four installations = quatre espaces/quatre installations = quatro espacios/quatro instalaciones. Heidelberg: Kehrer Verlag, 2004.
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Jade, Keijzer, ed. Paul Panhuysen: Long strings, 1982-2011. Eindhoven: Stichting Het Apollohuis, 2011.
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Petitgand, Dominique. Dominique Petitgand: Installations (documents). Paris?]: Éditions MF, 2009.
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Celant, Germano. Art or sound. Milano: Fondazione Prada, 2014.
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Eller, Ulrich. Ulrich Eller: Konzert für Schneckenklavier mit Seebrücke & Zeichnungen. Saarbrücken: Pfau, 2007.
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Eller, Ulrich. Ulrich Eller: Neuer Berliner Kunstverein 1992, Stadtgalerie Saarbrücken 1993. Saarbrücken: Die Stadtgalerie, 1992.
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Albrecht, Hartmut, and Rosina Huth. Lautsprecherei: Re, sound - art - design. Stuttgart: Merz & Solitude, 2007.
Find full textBook chapters on the topic "Sound installations (art)"
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Martins, Tiago, João Correia, Sérgio Rebelo, João Bicker, and Penousal Machado. "Portraits of No One: An Interactive Installation." In Artificial Intelligence in Music, Sound, Art and Design, 104–17. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43859-3_8.
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Ocampo, Rodolfo, Josh Andres, Adrian Schmidt, Caroline Pegram, Justin Shave, Charlton Hill, Brendan Wright, and Oliver Bown. "Using GPT-3 to Achieve Semantically Relevant Data Sonificiation for an Art Installation." In Artificial Intelligence in Music, Sound, Art and Design, 212–27. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-29956-8_14.
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Vesanen, Teemu, Jari Shemeikka, Kostas Tsatsakis, Brian O’Regan, Andriy Hryshchenko, Eoin O’Leidhin, and Dominic O’Sullivan. "Digital Tools for HVAC-Design, Operation and Efficiency Management." In Innovative Tools and Methods Using BIM for an Efficient Renovation in Buildings, 63–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04670-4_5.
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AbstractThe project BIM4EEB aims also to develop digital tools to support the design, procurement, installation, post-renovation operation, user feedback and profiling of building automation systems for HVAC. This helps supporting decision making, interaction with tenants and owners during the design, construction, and post-renovation operation phases. The development of the tools will be underpinned by a sound methodological approach. Work will include considerations of interoperability with Smart City technology of automation systems for HVAC. Specific objectives will be related to the development of the following software tools: A software component supporting the automatic generation of the layout for control systems emphasising on user preferences and including constraint checking of BAC-topologies against selected building codes. Data and information stored in BIM models are used to generate the initial recommendations and constraints and to deliver the final installation instructions. A software component allowing the seamless specification and evaluation of user comfort and systems performance. The underpinning information model will merge data sources from BIM (dimensional data) and BAC (factual data). An energy-refurbishment assessment tool, for bridging the gap between commercial simulators and the BIM management system. A user-profiling component allowing to compare expectations of tenants and owners regarding comfort and systems’ performance against monitored parameters. The results of this software component can be used in the pre- and post-renovation phases to update the content of BIM systems and thus to improve their accuracy and to reduce efforts for data acquisition and verification.
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"Sound Installations and Spatialization." In Women, Art, and Technology. The MIT Press, 2003. http://dx.doi.org/10.7551/mitpress/7274.003.0029.
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Davidson, Michael. "Siting Sound." In Distressing Language, 51–71. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479813827.003.0003.
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The drawings and sound installations of Christine Sun Kim make visible and tactile sounds that as a deaf person from birth she cannot hear but that enable her listeners to hear through a deaf optic. As such, her work not only distributes senses but also redistributes cultural values associated with sound and voice, challenging the idea that d/Deaf culture and the world of deaf persons is silent and that sound is necessarily an acoustic phenomenon. Her work also calls into question the strictly textual and auditory models of poetry by blurring boundaries between sound and silence, deaf and hearing, visual art and poetics. In discussing the issue of “siting” sound, I refer to the more recent photographic work of Christian Marclay, in which he foregrounds the image of sound as represented in several forms of vernacular visual media.
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"Sound in the Audiovisual Media Arts." In Sound in Indian Film and Audiovisual Media. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463724739_ch11.
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The eleventh chapter is dedicated to the study of the creative practices of sound in other audiovisual media art productions such as interactive installations, digital media artwork, new media, video and sound art. Several artworks, projects, and initiatives are discussed in this chapter to draw an overview of the nascent but developing field of sound art in the Indian subcontinent due to globalization, planetary mobility, and media community exchanges. Focus is given to young artists who are experimenting with sound in or outside of cinematic contexts, and how these independent practices expand the scope of sound and listening in the contemporary (media) arts fields, challenging their inherent Eurocentrism.
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Hildebrand, Jayne. "Coda." In Novel Environments, 181—CCP17. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192888471.003.0006.
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Abstract The coda explores how the Victorian affinity between descriptive practice and ecological thinking extends to a more recent historical moment by turning to contemporary environmental sound art. Examining compositions and installations by Hildegard Westerkamp and Anna Winderen, this coda argues that these environmental sound artists share with Victorian novelists an aspiration to create vividly perceptible virtual worlds as a means of rendering concrete and palpable the abstract concept of an environment. In their sonic foregrounding of environmental phenomena ordinarily relegated to the background, these artists employ descriptive practice as a means of illuminating the modern concept of “the environment”—a global totality that encompasses the whole of the natural world.
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Lippman, Alexandra. "Cash." In Paid, edited by Bill Maurer and Lana Swartz. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035750.003.0009.
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This chapter juxtaposes two artistic interventions into money: one, an “occasional coffee shop” where patrons are exhorted to “throw $$ on the floor;” the other, the work of artist MáximoGonzálzez, who creates installations out of cut and folded decommissioned banknotes. This juxtaposition allows the author so discuss the relationships among money, waste, art and payment. Venturing into “Squamuglia,” a pop-up coffee shop and/or artistic performance in Los Angeles presents an occasion to reflect on physical banknotes, art and philosophy with Squamuglia’s host, Ben Turner. Merging sound, objects, refuse, trees and branches, plastic, wooden beams and other items, Turner’s coffee shop went through diverse, always different iterations, each one, however, centered around serving espresso coffee drinks, and an exhortation to pay—or not—by throwing money on the floor. Ben would collect the money, which would usually have become dirty, and wash it with soap and a sponge before recirculating it. Yet he felt that this made the bills less “vibrant.” Money’s dirtiness or vibrancy also has to do with its relationship to the state, a theme explicit in González’s art.
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Rocamora, Isabel. "Performance, Moving Image, Installation: The Making of Body of War and Faith." In Cinematic Intermediality, 176–84. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0013.
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In this chapter, moving image artist Isabel Rocamora reflects on the thematic, aesthetic and philosophical concerns that drive her intermedial art practice. The essay traces the ways in which core elements of her performance work – gesture, place, temporality and presence – in turn inform and are transformed by her film and video installations. A discussion of the ethical dilemmas that motivate Body of War (2010) and Faith (2015) – namely, military violence and ethnic segregation – opens up problems of identity and alterity as well as questions of form, structure and register. To address these, Rocamora places the illuminating philosophies of Martin Heidegger and Emmanuel Levinas into dialogue with her own directorial approach to casting, location, performance, cinematography, sound design and exhibition architecture. The aim of her moving images, she explains, is to draw out the personal from the collective in mise en scènes that dislodge performative action to expose ontological presence. The creative means, the essay concludes, emerge from the productive strife between the media.
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Cerwén, Gunnar. "On the Intersection Between Speaker Installations and Urban Environments." In Advances in Civil and Industrial Engineering, 23–45. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3637-6.ch002.
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This chapter deals with speaker installations and the potential to use such installations for designing soundscapes in cities. Through employment of a designer's perspective, eight intersections between speaker sounds and the environment in which they are installed are brought forward and discussed. The intersections were originally deduced by the author theoretically but have subsequently also been examined in relation to existing speaker installations. This chapter describes and exemplifies each of the eight intersections, which have been denoted as sound sculpture, sound space, atmospheric design, sound and light, sound binocular, sound postcard, interactive event, and retuning of soundscape. Discussions in the chapter cover the role of speaker-induced sound in relation to the notion of acousmatics as well as urban design.
Conference papers on the topic "Sound installations (art)"
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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.
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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition
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Baglione, Melody, Dale Short, Caitlin Correll, and David Tan. "Developing Installations and Activities for an Interactive Light Studio at the American Sign Language and English Lower School." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-86438.
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Students from The Cooper Union for the Advancement of Science and Art created new installations and activities for an Interactive Light Studio for pre-kindergarten students at The American Sign Language and English Lower School (P.S. 347) in New York City. The studio creates ways for both deaf and hearing students to explore light and sound while simultaneously promoting science and technology to students at a young age. Improvements to the studio in the 2011–12 school year strove to further the educational mission of the project while introducing new and exciting interactive multimedia installations. A digital projection system was created using easily assessable sensors, electronics, and open-source computer software creating an interactive play and learning environment that encourages self-driven discovery. The project engages young children, including minorities, girls, and disabled children, in active science learning while providing Cooper Union students with an opportunity to work on a real world project in their community.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.
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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Drymonitis, Alexandros, and Dimitrios Charitos. "ATHsENSe: A Multisensory Outdoor Installation." In ICAD 2021: The 26th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2021. http://dx.doi.org/10.21785/icad2021.035.
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The ATHsENSe installation is a four part AV installation based on environmental data from the city of Athens. It comprises four different installations: a visualization projection of the data, a sound installation where the data are being sonified, an installation comprising eight LED displays projecting texts from users of the web app of ATHsENSe, and a light installation reflecting the sound levels of a central point of Athens. The second of the four installations is presented here where data concerning CO, CO2, humidity and others, together with texts provided by the web app users, are being sonified in a six-channel surround installation. In addition to the electronic sounds of the sonification, four kinetic sculptures are being triggered by the system which create acoustic sounds by hitting found objects. This installation is located at the Serafeio complex in Athens, and was commissioned to the Spatial Research Media Group by the municipality of Athens after their successful participation in the Interventions in the City competition.
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Murphy, Jim, Dugal McKinnon, and Mo H. Zareei. "Lost Oscillations: Exploring a City’s Space and Time With an Interactive Auditory Art Installation." In The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.019.
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Lost Oscillations is a spatio-temporal sound art installation that allows users to explore the past and present of a city’s soundscape. Participants are positioned in the center of an octophonic speaker array; situated in the middle of the array is a touch-sensitive user interface. The user interface is a stylized representation of a map of Christchurch, NewZealand, with electrodes placed throughout the map. Upon touching an electrode, one of many sound recordings made at the electrode’s real-world location is chosen and played; users must stay in contact with the electrodes in order for the sounds to continue playing, requiring commitment from users in order to explore the soundscape. The sound recordings have been chosen to represent Christchurch’s development throughout its history, allowing participants to explore the evolution of the city from the early 20th Century through to its post-earthquake reconstruction. This paper discusses the motivations for Lost Oscillations before presenting the installation’s design, development, and presentation.
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Fehr, Jonas, and Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.
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Foo, Louise, and Jonas Fritsch. "Eleven Movements of the Cryoscape – Ecological Explorations in Sonification for Affectively Engaging with Climate Change." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-54-full-foo-et-al-movements-of-the-cryoscape.
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In this paper we present the sound installation Eleven Movements of the Cryoscape which was created for the new Kangiata Illorsua – Ilulissat Icefjord Centre in Greenland. The installation is a near real-time sonification of the movement and melting of the Inland Ice, consisting of an array of eleven speakers, each transmitting from a different location in Greenland. The installation portrays the Inland Ice as a living, breathing, evolving organism in the age of the anthropocene, where humankind has made its mark on the very changes that occur to the natural sounds over time. The installation invites people into an affectively engaging and contemplative relation to our changing ecologies through sonification of data to reflect on our present condition and to potentially imagine and connect to new realities. In this paper, we present the process leading to the creation of the installation and how it adds to existing research into sonification and listening practices in artistic and design research.
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Bundin, Andrey, and Natalia Fedorova. "Ether Island: Investigating sound movement correlations in a generative interactive installation." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.47.
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Mazzocchio, Mattia. "Design and Implementation of an immersive, cooperative Net Art installation using Web Csound." In 2023 4th International Symposium on the Internet of Sounds. IEEE, 2023. http://dx.doi.org/10.1109/ieeeconf59510.2023.10335251.
Full textReports on the topic "Sound installations (art)"
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Crocker, Malcolm, P. Raju, and S. Yang. NPR199201 Standard Sound Power Level Specification and Measurement Procedure. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), October 1992. http://dx.doi.org/10.55274/r0011640.
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These guidelines describe a method for in-situ determination of the sound power level of the noise sources in indoor or outdoor environments for gas compressor station equipment using sound intensity measurements. The guidelines contain information on instrumentation, installation and operation of the source, procedures for the selection of a measurement surface, procedures for the sampling of sound intensity on the measurement surface, procedures for the calculation of sound power level, and techniques that can be used to qualify the measurement environment. Typical results obtained for different types of equipment in a gas compressor station using these guidelines are summarized.
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Stevens, R. D., B. V. Chapnik, and B. Howe. L51960 Acoustical Pipe Lagging Systems Design and Performance. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), October 1998. http://dx.doi.org/10.55274/r0010392.
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Noise levels radiated from the exterior of a pipe wall can significantly contribute to the overall noise levels on the site of a gas plant and at neighboring properties. The noise inside the piping is generated both by the gas compressor itself, and by the flow of gas through valves, elbows and fittings. Sound inside the pipe couples to the pipe wall by exciting vibration modes, some of which are radiated from the exterior of the pipe into the air. Piping is geometrically circular, which provides it with considerable increased stiffness versus a flat plate, and thereby assists in its ability to contain low frequency sound inside the pipe. At high frequencies, where the wavelength of sound is short compared to the dimensions of the pipe, the response of the pipe approaches that of a flat plate, and considerably more sound is transmitted. Between the low and high frequency ranges lies the ring frequency, at which the wavelength of sound is equal to the circumference of the pipe; at this resonant frequency, a maximum amount of noise is transmitted out the pipe wall. For smaller pipe sizes, the ring frequency occurs above 5 kHz. For larger pipe sizes on the order of 24 inches to 36 inches, the ring frequency occurs in the range 1 kHz to 3 kHz. These frequencies fall in the most audible range of the sound spectrum. Low frequency sound is not usually of concern for pipe radiated noise, unless the source generates considerably low frequency energy. Acoustical lagging systems typically include one or more layers of porous insulation, to absorb sound and decouple vibration, and one or more layers of an impervious, heavy barrier material to contain the sound. The test configurations for this study were based on systems reported as commonly being used by PRCI member companies. Most of the member companies use fixed-in-place lagging configurations in which the various materials are applied in discrete layers to the pipe during installation. Self-contained, removable blanket systems are also in use by some member companies instead of fixed-in-place configurations, or around equipment such as valves where periodic removal of the lagging is necessary. This study provides a review of acoustic lagging systems for above ground gas piping to minimize noise.
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Wei, Fulu, Ce Wang, Xiangxi Tian, Shuo Li, and Jie Shan. Investigation of Durability and Performance of High Friction Surface Treatment. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317281.
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The Indiana Department of Transportation (INDOT) completed a total of 25 high friction surface treatment (HFST) projects across the state in 2018. This research study attempted to investigate the durability and performance of HFST in terms of its HFST-pavement system integrity and surface friction performance. Laboratory tests were conducted to determine the physical and mechanical properties of epoxy-bauxite mortar. Field inspections were carried out to identify site conditions and common early HFST distresses. Cyclic loading test and finite element method (FEM) analysis were performed to evaluate the bonding strength between HFST and existing pavement, in particular chip seal with different pretreatments such as vacuum sweeping, shotblasting, and scarification milling. Both surface friction and texture tests were undertaken periodically (generally once every 6 months) to evaluate the surface friction performance of HFST. Crash records over a 5-year period, i.e., 3 years before installation and 2 years after installation, were examined to determine the safety performance of HFST, crash modification factor (CMF) in particular. It was found that HFST epoxy-bauxite mortar has a coefficient of thermal expansion (CTE) significantly higher than those of hot mix asphalt (HMA) mixtures and Portland cement concrete (PCC), and good cracking resistance. The most common early HFST distresses in Indiana are reflective cracking, surface wrinkling, aggregate loss, and delamination. Vacuum sweeping is the optimal method for pretreating existing pavements, chip seal in particular. Chip seal in good condition is structurally capable of providing a sound base for HFST. On two-lane highway curves, HFST is capable of reducing the total vehicle crash by 30%, injury crash by 50%, and wet weather crash by 44%, and providing a CMF of 0.584 in Indiana. Great variability may arise in the results of friction tests on horizontal curves by the use of locked wheel skid tester (LWST) due both to the nature of vehicle dynamics and to the operation of test vehicle. Texture testing, however, is capable of providing continuous texture measurements that can be used to calculate a texture height parameter, i.e., mean profile depth (MPD), not only for evaluating friction performance but also implementing quality control (QC) and quality assurance (QA) plans for HFST.