Dissertations / Theses on the topic 'Soundscape design'

Utifrån ett posthumanistiskt synsätt, och tillsammans med Karen Barads teori kring agentiell realism och performativitet, vill vi i det här kandidatarbetet bjuda in vår omvärlds fysiska fenomen som medskapare i vår designprocess. Med hjälp av dessa fenomen vill vi utmana och ifrågasätta den antropocentriska designerrollen genom att belysa materialitetens performativa förmåga till kunskapsproduktion och meningsskapande i designprocessen. Vi undersöker hur designprocessen och dess involverade val och handlingar uppstår genom mötet av både mänskliga och icke-mänskliga aktörer; vi beviljas ett inifrånperspektiv som placerar oss mitt i vår världs trassel av intra-aktioner och blir därmed en del i dess tillblivelse. Genom att tillämpa detta förhållningssätt i experiment som utforskar relationen mellan den analoga världen och den digitala, undersöker vi hur dessa möten kan bidra till utformandet av en gestaltande ljudinstallation.
With a posthumanist approach and based on the theory of agential realism and performativity by Karen Barad, we want, in this Bachelor Thesis, to invite the physical phenomena of our surrounding world as co-creators of our design process. With help from these phenomena we would like to challenge and question the anthropocentric designer role by illustrating the performative ability of materiality for producing knowledge and creating meaning in the design process. We explore how the design process and its involved choices and actions emerge through the concurrence of both human and non-human actors; we are granted a from-within perspective that places us in the midst of the entanglement of our world’s intra-actions and therefore become a part of its genesis. By applying this approach to experiments which delve into the relationship between the analog world and the digital, we explore how these concurrences can contribute to the designing of a sound installation.

As Covid-19 spread throughout the world in the early months of 2020 many people’s lives changed drastically. The situation forced millions of workers and students to start performing their work remotely from home. Currently in Sweden statistics shows that every third person working does it from home at least once a week. When our work environments change, new conditions are created for how we can design our environments, which contributes to new design challenges. We believe that some homes are missing an intended space for office work, especially smaller apartments in larger cities. This means, among other things, that many people lack a place in their homes that offers a good sound environment. We believe that all people deserve to have a workplace that provides the best possible conditions for personal development, performance and well-being, even when working from home. This thesis work within the field of industrial design engineering was conducted in collaboration with the acoustical consultant firm Efterklang and Luleå University of Technology. The development process has followed the human centered design process of Design Thinking, an iterative design process consisting of the spaces of inspiration, ideation, and implementation. The aim of the project was to investigate how people experience sounds throughout their work day and based on this design a product with good acoustical properties for their home. The project also considered the varying conditions for different home offices as well as how people want to work in the near future. The objective was to create a better work environment by improving the workspace and its soundscape. The following mission statement was set up: “Increase people’s well-being and ability to perform by designing a better soundscape for the home office environment”. A literature review has been conducted together with both quantitative and qualitative research methods. The result has been used to answer the following research questions: (i) What do the users perceive as noise in the home environment and what impact does the soundscape have on our wellbeing? (ii) How can we through design, influence people’s feelings and experiences in their home office environment? (iii) What materials or techniques can be used to help increase the acoustical properties of a product and the soundscape of the home office environment? (iv) What user needs can we meet by designing an acoustics-enhancing product for the home office? Close to half of the project was spent in the space of inspiration, to get a deeper knowledge of the field of acoustics. Primarily the aspects of low-frequency noise and how it affects people was researched. It was however discovered in the interviews, observations, and questionnaire that a majority were consciously more affected by generic noise in their proximity. It was also discovered that when designing their workspace, sound, lighting, ergonomics, and privacy was the most important characteristics. Based on this knowledge, two personas were created which primarily helped to keep focus on the intended target group. The personas have also been used to motivate the final result. In the ideation phase, a total of six workshops were conducted. One of these workshops was performed together with six acoustic consultants and designers. This opportunity helped to evaluate our ideas and realize what is actually possible to achieve. The workshops have contributed to both diverging and converging the thesis work. The development of the concepts has throughout the project been done in an iterative process of workshops and user insights. Prototypes in the form of sketches, digital CAD models, and augmented reality [AR] have been used to convey our ideas to the users. The thesis work has resulted in a modular workstations that consists of acoustic elements in the form of absorbents and a floor standing screen. The product also includes a number of functions that can help the home worker to create an ergonomic workspace. It provides amongst other things a height adjustable desk and electric outlet for lighting. The workstation also has a number of shelves that the user can decorate or use for storage.
Många människor liv förändrades drastiskt under de första månaderna av 2020 då Covid-19 snabbt spreds över världen. Denna förändring tvingades miljontals med människor att snabbt ställa om till arbete på distans. Enligt statistik från statistiska centralbyrån arbetar ungefär en tredjedel av Sveriges befolkning hemifrån minst en dag i veckan. När våran arbetssituation förändras uppkommer nya krav på hur dessa miljöer utformas, vilket i sig bidrar till nya designutmaningar. Vi anser att många av dagens hem saknar en dedikerad arbetsplats. Framförallt när det kommer till mindre lägenheter i större städer. Detta bidrar i sin tur till att många kanske saknar en plats i hemmet med en god ljudmiljö att utföra sitt arbete i. Vi anser att alla människor har rätt till en arbetsplats som bidrar till personlig utveckling, prestation och välmående. Detta examensarbete inom området teknisk design har utförts i samarbete med akustik och ljuddesign-företaget Efterklang, samt Luleå Tekniska Universitet. Arbetet har följt en användarcentrerad designprocess kallad Design Thinking. Denna designprocess går iterativt igenom de tre områdena Inspiration, Ideation och Implementation. Målet med detta arbetet var att undersöka hur människor upplever ljud i deras vardag och utifrån detta designa en produkt som bidrar till en bättre ljudmiljö. Projektet beaktade också de olika förhållandena i användarna hemmiljö samt hur dessa kan tänka sig att arbeta i framtiden. Syftet med arbetet var att skapa en bättre arbetsmiljö genom att förbättra både arbetsplatsen och ljudmiljö runtom. Följande mission statement har ställts upp: “Increase people’s well-being and ability to perform by designing a better soundscape for the home office environment”. En litteraturstudie ligger tillsammans med kvantitativa och kvalitativa forskningsmetoder som grund för detta arbete. Resultatet av dessa har används för att svara på följande frågeställningar: (i) Vad upplever användarna som störande ljud i hemmiljö och hur påverkar detta deras välmående? (ii) Hur kan vi genom design påverka människors upplevelse av deras arbetsmiljö i hemmet? (iii) Vilka material och tekniker kan användas för att påverka en produkts akustiska egenskaper samt arbetsmiljön i hemmet? (iv) Vilka behov kan vi uppfylla genom att designa en produkt som förbättrar användarens ljudmiljö i hemmet? Eftersom detta projekt har krävt en förståelse för området akustik samt hur människor påverkas av störande ljud, har största delen av projektet spenderats i inspirations-fasen. Inledningsvis lades mycket fokus på lågfrekvent buller samt hur detta påverka människor. Dock uppmärksammades det i intervjuer, observationer samt enkät att en majoritet av användare störst mer av allmänt buller i deras närhet. Här uppmärksammades det också att när användaren utformar sin arbetsplats så rankas ljudmiljö, ljus, ergonomi samt avskildhet högt på listan av egenskaper. Utifrån denna kunskap har två personas skapats. Dessa har framförallt underlättat i att hålla kvar fokus på målgruppen. Det slutgiltiga resultatet motiveras också utifrån dessa. I ideation-fasen genomfördes total sex större workshops. Under en av dessa bjöds sex utomstående akustiker och ljusdesigners in för att delta. Under denna workshop utvärderades bland annat koncept vilket resulterade i en djupare förståelse för vad som är genomförbart. Samtliga workshops har bidragit till att både konvergera samt divergera tankar och idéer under detta examensarbete. Utvecklingen av idéer har skett i ett iterativt arbetssätt av workshops och feedback från användare. Prototyper i form av skisser, CAD-modeller samt AR har används för att förmedla idéer och koncept till användarna. Detta arbete har resulterat i en modulär arbetsstation innehållande akustiska element i form av absorbenter och en golvstående skärm. Möbeln innehåller flertalet funktioner vilka hjälper hemarbetaren att skapa en ergonomisk arbetsplats. Exempelvis erbjuder arbetsstationen möjlighet för höj- och sänkbart skrivbord samt ett eluttag för arbetsbelysning. Tillgängligt finns också hyllplan vilka användaren kan dekorera eller utnyttja som förvaringsyta.

This thesis is an attempt to establish a practical way for architectural designers to take advantage of the relationship between soundscape and architectural aesthetics. The whole study aides in providing a structural framework by which architectural designers could incorporate acoustic elements into their design, with aesthetic concerns rather than for practical purpose. The discussions of soundscape and architecture forms are organized in the order of point, line, plane and space to present my personal observations on the issue. Three graphic systems are developed based on the previous researches of soundscape to visualize the coexistence of sonic identities and visual identities in built environment and how both of them interact to create a multi-sensory experience for visitors. Among the three systems, the Soundscape Map system is particularly introduced to demonstrate some case studies where soundscape elements are successfully employed to strengthen the construction of architectural spaces and forms. The goal of this research is to open a door for architectural researchers to discover the interconnection between soundscape and architecture, with the hope that the graphic systems introduced could be useful for effective designs with soundscape concerns in built environment.

Denna uppsats beskriver en av många möjliga sätt att skapa ett soundscape med hjälp av digitala verktyg. Resultatet testas sedan med hjälp av en enkätundersökning för att ta reda på huruvida realistiskt och immersivt arbetet upplevs. Syftet med denna uppsats är att presentera ett tillvägagångssätt för musiker och producenter att skapa soundscapes med hjälp av digitala verktyg. Detta projekt är ett designarbete med en metod framtagen ur boken A Designer's Research Manual. Designarbetet beskrivs under rubriken Skapandet av ett soundscape. Resultatet av detta arbete visar att detta tillvägagångssätt ej upplevs lika realistiskt som andra soundscapes. Detta kan bero på flera olika anledningar som exempelvis de verktyg som använts, den testmetod som använts, författarens egna förmåga som ljuddesigner etc

This research focused on the soundscape design of a wide range of small to medium sized water features (waterfalls, fountains with upward jet(s), and streams) which can be used in gardens or parks for promoting peacefulness and relaxation in the presence of road traffic noise. Firstly, the thesis examined the audio-visual interaction and perceptual assessment of water features, including the semantic components and the qualitative categorisation and evocation of water sounds; and secondly, the thesis investigated the effectiveness of the water features tested in promoting relaxation through sound mapping. Different laboratory tests were carried out, and these included paired comparison tests (audio-only, visual-only and audio-visual tests), semantic differential tests, as well as tests aimed at the qualitative categorisation and evocation of water features. Sound maps of the water generated sounds were developed through the use of propagation models based on either point or line sources. Three acoustic zones (‘water sounds dominant zone’, ‘optimum zone’ and ‘RTN dominant zone’ (RTN: road traffic noise)) were defined in the maps as the zones where relaxation/pleasantness can be promoted over a 20 m × 20 m area for different road traffic noise levels. Paired comparisons highlighted the interdependence between uni-modal (audio-only or visual-only) and bi-modal (audio-visual) perception, indicating that equal attention should be given to the design of both stimuli. In general, natural looking features tended to increase preference scores (compared to audio-only paired comparison scores), while manmade looking features decreased them. Semantic descriptors showed significant correlations with preferences and were found to be more reliable design criteria than physical parameters. A principal component analysis identified three components within the nine semantic attributes tested: “emotional assessment,” “sound quality,” and “envelopment and temporal variation.” The first two showed significant correlations with audio-only preferences, “emotional assessment” being the most important predictor of preferences, and its attributes naturalness, relaxation, and freshness also being significantly correlated with preferences. Categorisation results indicated that natural stream sounds are easily identifiable (unlike waterfalls and fountains), while evocation results showed no unique relationship with preferences. The results of sound maps indicated that small to medium sized water features can be used mainly in environments where road traffic noise levels are equal or lower than 65 dBA.

Detta kandidatarbete undersöker de egenskaper det fysiska ljudlandskapet kan bidra med för att forma en virtuell värld. Med begrepp och teorier från omfattande studier inom fenomenet soundscape, undersöker vi hur detta kan appliceras i ett digitalt spel. Genom audiell analys av vår vardagliga miljö i en liten svensk stad, kan vi fördjupa kunskapen om hur ljudlandskapet är uppbyggt och kan appliceras i ett digitalt medie. Med ljudläggningen av ett digitalt spel kan vi testa att applicera funktioner och begrepp hämtade från det fysiska ljudlandskapet.
This bachelor thesis examines what the physical properties of the soundscape can contribute to form a virtual world. With concepts and theories from studies of soundscape, we examine how this can be applied in a digital game. Through a sound analysis of our everyday environment in a small Swedish town, we can improve our knowledge of how the soundscape is constructed and can be applied in a digital media. In the process of designing sounds to a digital game, we can test and apply the functions and concepts extracted from the physical soundscape.

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.

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An increasing amount of both physical and mental layers keep distancing urban dwellers from the biophysical envi- ronment that we often call nature. Environmental psycholo- gists have coined the term ‘extinction of experience’ to de- scribe the decreasing amount of encounters urban dwellers have with the natural environment. With the depletion of these experiences we have less relation to the natural world. And what we cannot relate to, we find hard to value. The intent has been to explore new ways urban dwelling adults could interact with the natural environment in order to help them relate to the abstract notion of biodiversity. The final concept is inspired by expert and user insights gathered through ethnographic research methods. The resulting design concept is a service and product eco- system that is based in the field of soundscape ecology.

The world is urbanizing rapidly with more than half of the global population now living in cities. Improving urban environments for the well-being of the increasing number of urban citizens is becoming one of the most important challenges of the 21st century. Even though it is common that city planners have visions of a ’good urban milieu’, those visions are concerning visual aesthetics or practical matters. The qualitative perspective of sound, such as sonic diversity and acoustic ecology are neglected aspects in architectural design. Urban planners and politicians are therefore largely unaware of the importance of sounds for the intrinsic quality of a place. Whenever environmental acoustics is on the agenda, the topic is noise abatement or noise legislation – a quantitative attenuation of sounds. Some architects may involve acoustical aspects in their work but sound design or acoustic design has yet to develop to a distinct discipline and be incorporated in urban planning.My aim was to investigate to what extent the urban soundscape is likely to improve if modern architectural techniques merge with principles of acoustics. This is an important, yet unexplored, research area. My study explores and analyses the acoustical aspects in urban development and includes interviews with practitioners in the field of urban acoustics, situated in New York City. My conclusion is that to achieve a better understanding of the human living conditions in mega-cities, there is a need to include sonic components into the holistic sense of urban development.

The present work represents both: a design proposal and a proposal for design.Today we are exposed to more and louder noise than ever before in all areas of human life, which alters the environment, our health and the quality of social interaction to the worse. Therefore, this project takes its departure point in the concept of Stille (German for stillness and silence) in order to oppose this culture of noise. Our surroundings influence our actions and vice versa we alter these surroundings with our actions. However, since constructed within every detail, they do not allow a transient feedback to take place naturally. A possible otherness is hardly attainable in an overly planned reality.This thesis seeks to transcend the boundaries where descriptive language ceases to function and introduces materiality and interactive devices to evoke other avenues of reflection where the boundaries of actor, context and artefact converge. The proposal at hand embodies the fundamental principles of Stille in order to exploit aspects of parametric design and contingency. It imagines and materialises alternative ways of a potentially open process in which our physical environment could continuously constitute itself. Both hidden and apparent aspects of reality are unraveled and transformed into artifacts. The work depicts the transient complexity of reality and the contingent influence of everyone on our surroundings. How is our behaviour altered by the materialisation of ideas? How receptive is the current design practice to a constantly changing reality?

“Ditt ljud är mitt ljud är vårt ljud.” - Brandon Labelle(2010) Allt ljud i vår omgivning bidrar och bildar en massa olika akustiska ljud ekologier, från naturliga ljud i en natur akustisk omgivning som består utav ljud från djur, vind & förändringar i vädret, till konstgjort ljud skapad av människor. Dessa ljud kan vara genom musikaliska sånger & konster, reklam, TV & andra vanliga aktiviteter som konversationer, arbetsljud & ljud ifrån mekanisk skapande apparater som används inom industrin & samhälle. Denna ljudmiljö som vi alla lever i, kallar vi för ljudlandskap. Syftet med det här arbetet är att undersöka ljudets betydelse för förståelsen av vår historia med fokus på den lokala historien. Kandidatarbetet består av en teoretisk del och en praktisk del. Till den teoretiska delen har jag använt mig av en litteraturstudie, där jag använt artiklar, både vetenskapliga och relevanta tidningsartiklar inom ämnet för få fram fakta och analysera mina frågeställningar. Till den praktiska delen har jag gjort en ljudmiljö som består av original inspelningar och modifierade ljud. Jag har visat på hur en ljudvandring kan hjälpa till och vara ett viktigt komplement till att få en fördjupad förståelse över vår lokalhistoria. Mitt val att göra en ljudvandring över Hestras historia föll sig naturligt då det är min hemort.
“Your sound is my sound is our sound.” - Brandon Labelle(2010) All the sounds in our surroundings contribute to a lot of different acoustic sound ecologies, from natural sounds in a natural acoustic environment that consist of the sounds of animals, winds and changes in the weather. To sound artificial created by us people, through musical songs & arts, advertising, TV & other common activities like conversations, work sounds & sounds from mechanically-creating devices used in industry & society. This sound environment we all live in we call for soundscapes. The purpose of this work is to investigate the importance of sound for understanding our history, focusing on local history. The candidate's work consists of a theoretical part and a practical part. To the theoretical part I have used a literature study, where I used articles, both scientific and relevant newspaper articles on the subject to get facts and analyze my questions. For the practical part, I have made an audio environment that consists of original recordings and modified sounds. I have shown how an audio migration can help and be an important complement to gaining a deeper understanding of our local history. My choice to make a soundtrack over Hestras history fell naturally, as it is my hometown.

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 ?

Acoustic recording has recently been identified as an effective tool for monitoring biodiversity and ecosystem health. This study used a novel approach to visually and statistically model the sounds produced within an ecosystem across space and time to identify hot spots and hot moments of biodiversity activity. It was demonstrated that biodiversity can be successfully measured through an integrated approach of ecoacoustic monitoring and highlights the potential to inform future ecological urban design decisions and conservation planning strategies.

Since the introduction of the Walkman in the 1980s, an increasing amount of people are using mobile music devices in our urban environments. The research on the sociological aspects of this phenomenon has become known as the ‘iPod culture’. It describes people aestheticising these noisy urban environments by replacing them with mobile music listening, which presents obvious benefits regarding personal entertainment and wellbeing. However, some studies have revealed several cases of users experiencing social isolation as a consequence of using mobile music devices. Therefore, this study explores the problem of designing a user experience that can provide the appealing qualities of mobile music listening while simultaneously enabling spatial and social awareness of the urban environment. The study explores this problem by applying a methodology inspired by research through design, involving an iterative design process centred around the design of a mobile reactive music prototype application, which was eventually named Reactiscape. To validate and evaluate the success of the prototype design, different stakeholders have been involved throughout the entire design process. The results show that the users experienced a stronger connection to the urban soundscape when using Reactiscape, while still maintaining a musically appealing user experience. In a broader sense, these results indicate that novel mobile technology design has every opportunity to increase real world social interaction, rather than being a source of social isolation.

Detta kandidatarbete undersöker ljudbilder i film och vad som påverkar ljudbildens mättnad. Med stort fokus på Walter Murchs Dense Clarity, Clear Density (2005) bryter vi ner uppbyggnaden av en ljudbild för att få bättre förståelse kring detta. Med en egenframtagen analysmetod som fokuserar på filmers ljudbild analyserar vi scener ifrån flertalet filmer och tv-program, hittar mönster kring deras ljudläggning och hur det påverkar ljudbilden. Därefter bygger vi upp en lista med förhållningspunkter för olika typer av ljudbilder. Resultatet av undersökningen blir en förklaring av hur man uppnår olika former av ljudbilder i film och varför det blir så.

Healing and clinical work requires a complex choreography of architectural acoustic design in healthcare settings. In most healthcare settings, medical staff members conduct vital tasks that may have life-and-death implications. Patients visit the hospitals to heal. Their expectations include fast recovery, restful sleep, and privacy (i.e., speech privacy). However, sound environment qualities of the care settings often fall far from supporting the mission of hospitals. There is strong and growing evidence showing that effective soundscapes in healthcare settings potentially impact errors, healing and stress for patients, families and staff but it is still not clear what measures of the sound environment best predict key healthcare outcomes and what design strategies best impact those measures. By using a multi-method approach (i.e., objective and subjective noise level measurements, in-situ impulse response measurements, heuristic design analysis, theoretical studies, acoustic simulations and statistical analysis), this study aims to develop evidence based design strategies by statistically defining the relationships between three types of variables: (1) architectural floor-plate design metrics, (2) acoustic metrics, and (3) occupant response. The research is conducted in three phases. The first phase of the study compared the objective and subjective qualities of the hospital sound environments with different architectural designs, assessed the effectiveness of a newer acoustic metrics in capturing caregiver perceptions, and evaluated the impact of particular noise sources on caregiver outcomes. The second phase of the study tested the validity of an acoustic simulation tool in estimating the acoustic qualities of the healthcare soundscapes. The third phase of the study systematically explored the relationship between floor-plate design and acoustics of complex inter-connected nursing unit corridors. Even though the relationship between design and acoustics of proportional spaces (a.k.a. rooms with more traditional dimensions) has been well documented, the number of studies linking design and acoustics of complex non-proportional spaces such as inter-connected corridors still remains limited. The findings of the first phase show that critical care sound environments with different designs can vary drastically and impact caregivers` perceived wellbeing and task performance (e.g., patient auditory monitoring). Despite their extensive use, traditional noise metrics sometimes may not be effective in capturing unique characteristics of healthcare sound environments. This study validated the effectiveness of a new more detailed noise metric, "occurrence rate", in capturing the differences between acoustic characteristics of healthcare sound environments. Moreover, particular noise sources such as impulsive noises are likely to dominate the ICU sound environments and interfere with perceived caregiver health and performance. The findings of the second phase suggest the potential effectiveness of acoustic simulation tools (with hybrid prediction programs) in estimating the acoustic qualities of complex inter-connected hospital corridors. The findings of the third phase suggest the potential significant impact of design features of particular hallways (e.g., number of turns, corridor length, and number of branches) and overall floor-shape characteristics of inter-connected corridors (i.e., relative grid distance, and visual fragmentation) on reverberation time. Overall, in the units with shorter, more compact, fragmented corridors with multiple number of branching hallways, reverberation times are likely to be less. Moreover receivers located at the corridors with less number of turns from the sound source also potentially experience lower reverberation times. According to previous research, the human auditory system`s ability to monitor auditory cues is likely to be higher in the less reverberant sound environments.

Suite à un état de l'art détaillant la création et l'utilisation de l'espace sonore dans divers environnements urbains virtuels (soundmaps, jeux vidéo, réalité augmentée), il s'agira de déterminer une méthodologie et des techniques de conception pour les espaces sonores urbains virtuels du point de vue de l'immersion, de l'interface et de la dramaturgie.ces développements se feront dans le cadre du projet terra dynamica, tendant vers une utilisation plurielle de la ville virtuelle (sécurité et sureté, transports de surface, aménagement de l'urbanisme, services de proximité et citoyens, jeux). le principal objectif du doctorat sera de déterminer des réponses informatiques concrètes à la problématique suivante : comment, en fonction de leur utilisation anticipée, les espaces sonores urbains virtuels doivent-ils être structurés et avec quels contenus?la formalisation informatique des solutions étayées au fil du doctorat et la création du contenu sonore illustrant le projet seront basés sur l'analyse de données scientifiques provenant de domaines variés tels que la psychologie de la perception, l'architecture et l'urbanisme, l'acoustique, la recherche esthétique (musicale) ainsi que sur l'observation et le recueil de données audio-visuelles du territoire urbain, de manière à rendre compte tant de la richesse du concept d'espace sonore que de la multiplicité de ses déclinaisons dans le cadre de la ville virtuelle
In video gaming and interactive media, the making of complex sound ambiences relies heavily on the allowed memory and computational resources. So a compromise solution is necessary regarding the choice of audio material and its treatment in order to reach immersive and credible real-time ambiences. Alternatively, the use of procedural audio techniques, i.e. the generation of audio content relatively to the data provided by the virtual scene, has increased in recent years. Procedural methodologies seem appropriate to sonify complex environments such as virtual cities.In this thesis we specifically focus on the creation of interactive urban sound ambiences. Our analysis of these ambiences is based on the Soundscape theory and on a state of art on game oriented urban interactive applications. We infer that the virtual urban soundscape is made of several perceptive auditory grounds including a background. As a first contribution we define the morphological and narrative properties of such a background. We then consider the urban background sound as a texture and propose, as a second contribution, to pinpoint, specify and prototype a granular synthesis tool dedicated to interactive urban sound backgrounds.The synthesizer prototype is created using the visual programming language Pure Data. On the basis of our state of the art, we include an urban ambiences recording methodology to feed the granular synthesis. Finally, two validation steps regarding the prototype are described: the integration to the virtual city simulation Terra Dynamica on the one side and a perceptive listening comparison test on the other

Cette thèse interroge, par la méthode et la conception design, les modalités permettant de construire des récits liés à l'imaginaire urbain. Ces derniers constituent des potentialités qui racontent au travers de la dimension sonore des faits mémoriels, histoires et vécus de groupes. Le « designer des sons de l'urbain » construit alors sa propre scénophonie urbaine, procédé permettant de raconter l'espace sonore, entre espaces du temps et temps de l'espace. Cette posture permet de rendre compte de la prégnance socio-culturelle du fait sonore dans la manière de raconter le monde. Il s'agit de déceler puis d'interroger les enjeux d'une société en pleine mutation à partir de l'utilisation d'enregistrements de terrain et de créations sonores de territoire, c'est-à-dire des narrations composées à partir de ces premières captures. Ce travail s'articule autour d'une étude théorique d'un corpus artistique (Tome 1) et d'une recherche-action menée dans le cadre d'un contrat Cifre au sein de la Direction de la Culture de la Ville de Strasbourg, pour le Shadok, fabrique du numérique, régie directe de l'Eurométropole en collaboration avec une association trandisciplinaire, Horizome et l'équipe d'accueil ACCRA de l'Université de Strasbourg (Tome 2)
This dissertation questions through a design approach the ways and means allowing the construction of stories related to the urban imaginary. The latter constitute possibilities of telling something through the sound dimensions of historical events, and both individual and collective experiences. The “designer of urban sounds” then builds their own urban scenophony, a method allowing the telling of the sound space — between the spaces of time and the times of space. Such a position allows to account for the socio-cultural weight of sound in the waythe world is told. This research is about detecting and then questioning what is at stakes in a changing society, using field recordings and “territory sound creations,” i.e. narratives built from the raw material of those field recordings. Two dimensions are involved in this work: a theoretical study of an artistic corpus (Tome I) and an action research born outof a city of Strasburg Cifre contract for the state-sponsored and controled Shadok,fabrique du numérique, in collaboration with a transdisciplinary association, Horizome,and the ACCRA team of the University of Strasburg (Tome II)

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Noise pollution results from human activities and compromises population life quality and welfare. This creates public health problems and several social and economic negative effects on cities. This dissertation studies how urban morphology and architecture design interact and interfere with the soundscape of a place. This study also reviews strategies, plans, and measures to reduce the impact of noise in projects in Europe, Asia and Brazil. A case study is also presented where concepts and acoustic principles are applied to analyze the soundscape of Oscar Freire, a busy commercial street in São Paulo.
A poluição sonora é resultante das atividades humanas e compromete a qualidade de vida e o bem-estar da população, gerando problemas de saúde pública, além de ser responsável por efeitos negativos na econômica e na sociedade. A presente dissertação aborda de que forma elementos da morfologia urbana e do projeto arquitetônico interagem e interferem na paisagem sonora de um lugar. Este estudo apresenta, também, as estratégias de planejamento de ação e as medidas na redução de ruído aplicadas na Europa, na Ásia e no Brasil, e um estudo de caso com aplicação dos conceitos e fundamentos da acústica urbana na paisagem sonora da Rua Oscar Freire na cidade de São Paulo.

Le paysage sonore relève de la discrétion. L’écoute est une expérience solitaire dont le raffinement potentiel reste difficile à cerner par le langage, contaminé par l’image.Il existerait pourtant des formes de visualisations sonores dans l’art, qui nous permettraient paradoxalement d’aller au plus près des nuances de l’écoute et de révéler des aspects in-vus du paysage. Oubliés, inconscients, peu ou non encore repérées, mais non muets pour cela, ils participeraient à notre habiter. L’expérimentation constructive, c’est-à-dire l’écouter renforcé par un modus operandi spécifique, « la plongée », sorte de technique de chute, progressivement réelle, virtuelle autorisant des ajustements posturaux très fin, et le représenter quasi aveuglément, nous aiderait à les retrouver. La visualisation sonore opèrerait d’abord comme un outil de médiation. Parce qu’elle jongle délibérément avec la multi-sensorialité, elle permettrait de distinguer entre ce qui est donné à voir (figure) et ce qui est donné à vivre (fond).Elle fonctionnerait ensuite comme un support d’analyse, qui nous permettrait d’examiner l’action in situ in vivo d’un corps qui non se représente, mais qui trace pour mieux s’inscrire dans le mouvement. Doté d’une haute réceptivité et créativité, il serait capable d’assimiler le jeu d’une playing aura toujours plus actuelle par la convolution des gestes corporels (postures d'écoute, gestes plastiques) et ambiants (le « déjà là » sans qu’on en ait forcément conscience : les effets de la forme construite, les effets climatiques, culturels et sémantiques). Le mouvoir ensemble des corps et corporéités se densifierait momentanément sous forme de nœuds. L’organisation discrète, néanmoins concrète de ces figures de synthèse des transitions, de ces sommes, esthétiques, sensibles et intensives, que nous appellerons aussi des « motifs » de l’écoute, serait typique. Nos modes exploratoires et de restitution nous appendraient à les lire. Cela nous permettrait non seulement de nous comprendre en tant qu’êtres parmi des créatures tempérées, mais de découvrir un paysage simultanément guide et conséquence, dont l’habiter/construire se déclarerait dans et par son architecturation élastique, poreuse et à pouvoir intime. Nous serions alors en mesure d’opérer un bougé d’apparence du paysage. Nous examinerons l’ensemble de ces expériences à l’aide de notre corpus premier (d’origine artistique), tout en les raisonnant à l’aide de critères d’évaluation mixtes (Art, Architecture). Nous vérifierons nos modes d’exploration et de restitution à l’aide d’examens cognitifs. Nous les réfléchirons encore à travers des arguments phénoménologiques et philosophiques. Nous-nous intéresserons ensuite aux environnements artificiels. Nous pensons en effet qu’ils interviennent dans la texture de nos expériences. Comme elles instaurent des gestuelles normées qui assistent de plus en plus nos actes contemporains d’habiter/construire, elles méritent d’être évaluées. Tout en nous appuyant ici sur notre corpus second, qui se compose d’enquêtes auprès d’autres sujets percevants, nous analyserons les conséquences d’une telle incarcération technologique des gestes et plus précisément le comment elle interfère avec nos perceptions et nos représentations. Nous examinerons également des interfaces sensoriellement et gestuellement enrichies. Nous y étudierons les étiquettes, les décalages et les handicaps culturels. Nous réfléchirons enfin sur l’incorporation de nos mesures à l’intérieur des outils et maquettages existants. Nos modes d’exploration et de restitution s’illustreraient comme des auxiliaires de l’écoute sensible, qui deviendrait communément partageable. Instruments-mêmes d’une linguistique de l’in-vu, dont le spontané sophistiqué nous aiderait de nous mettre à la place de l’autre, ils permettraient de créer des connexions, de partager et de croiser nos idées, de faire évoluer nos interconnaissances et de concevoir des constructions collaboratives
Soundscape noticed to discretion. Hearing is a solitary experience whose potential refinement remains difficult to surround by language because its visual contamination.There exist yet kinds of sound visualisations in art, which would paradoxically permit us to approach very close nuances of hearing and to wander to un-viewed aspects of landscape. Forgotten, unconscious, but not mute at all, they are a part in our living and constructing activities. The constructive experimentation, which means the action of hearing reinforced by a specific modus operandi, a kind of falling, called « the plunge » and the quasi blind representing, could help us to discover them again. This technique, gradually real, virtual would complete the experience by finely postural adjustments.The sound visualisation operates here first as a tool for mediation. Wilful juggling with multi-sensory generated meaning it permits us not only to distinguish both which is given to see (figure) and to live (fond, substance), but also to discover the action of a body which is not representing it-self but tracing in the aim of better inscription into the movement. By virtue of high receptivity and creativity this body would be able to assimilate a playing aura which means the main present, conscious and unconscious, always topical because of the convolution of bodily gestures (listening poses, plastic expressions) and ambient gestures (the yet there, not automatically conscious: the acoustic, climatic, cultural and semantic effects). The moving together of bodies and body like beings would momentarily become denser and shaping knots. The discreet nevertheless concrete organisation of these synthetic figures of transitions, of this aesthetic, sensory and intensive summary, which we call even listening patterns, in the sense of motif, is typical. Our exploration and reproduction modes would help us to learn to interpret them.From then, we would not only understand us as beings among other tempered creatures, but also discover a landscape simultaneously guide and consequence, whose elastic, porous and intimate proceedings and values of living/constructing would make us able to carry out a fade of landscape appearance.We will study all these experiences through our principal corpus (artistic one). We will argue them by mixed evaluations (artistic, architectural ones). We will verify our exploration and restitution modes by cognitive exams. We will think about them by phenomenological and philosophical reasoning.After this we wont become interested by artificial environments. We think in fact that they intervene in the texture of our experience. As they institute normed gestures, which assist more and more frequently our contemporary living/constructing acts they need to be gauged. Leaning on our secondary corpus, which is composed by investigations with other perceiving subjects, we will analyse the consequences of this kind of technological imprisonment of the gestures and precisely the how they interfere with our perceptions and representations. We will also examine gestural and sensory enriched interfaces. The sound visualisation would help us to make etiquettes, shifts and handicaps clear, to think about incorporation of our measurements into the existing tools and models.Our exploration and restitution modes would make us more attentive for sensible aspects of listening, which would become a common divisible. Linguistic instruments of the un-viewen whose sophisticate spontaneous would help us to set to the place of our next neighbour they would permit us to create connexions, to divide up and to cross our ideas, to mature our mutual knowledge and to conceive collaborative constructions

Nyfikenhet och känsla av att kontakt med vår omgivning är viktigt för vårt välbefinnande. Däremot bidrar kombinationen av att vara hemmablind och mobiltelefonens tjuvande av vår uppmärksamhet till att vi distanserar än mer från den. Genom att engagera människor genom ljud för att rikta vår uppmärksamhet mot omgivningen och bort från mobiltelefonen kan man väcka nyfikenheten till liv, och på så sätt få ökad kontakt med omgivningen. En konceptdriven designstudie ligger till grund för ett designkoncept som den här kandidatuppsatsen presenterar. Syftet är att studien skall skall bidra med insikter och lärdomar för framtida forskning inom området. Arbetet undersöker hur användarupplevelsen av ett förstärkt ljudlandskap potentiellt kan designas för att människor ska få ökad kontakt med sin omgivning. I en empiriskt studie får deltagarna jämföra hur deras sinnesstämning påverkas av ett förstärkt ljudlandskap med det naturliga ljudlandskapet i en, för dem, känd miljö. Resultatet visar att det går att påverka användarens sinnesstämning, men att det råder delade meningar om den ger ökad kontakt med omgivningen. Slutsatsen blir att; sinnesstämningen påverkas olika, vilket kan bero på vilka personliga preferenser användaren redan har med sig.
Curiosity and a sense of connection with our everyday environment is important for our well-being. However, the combination of not being able to appreciate what is close to us and smartphones stealing our attention just makes a larger gap between us and everyday environments. By engaging people through sound to direct our focus towards our surroundings and away from the smartphone, you can bring your curiosity to life, and in that way get an enhanced connection to the everyday environment. This paper presents a design concept based on a study made with a Concept-Driven Design method. The purpose of the suggested design concept is that the insights and knowledge that is drawn from it can be used to help future research within the field. This paper examines how a user experience of an augmented soundscape could be designed for people to enhance their connection to their surroundings. In an empirical study, participants get to compare how their mood is affected by a natural soundscape compared to an augmented soundscape in an everyday environment. The result shows that all of the participants' mood was affected by the soundscape, however when it comes to enhanced connection to their surroundings only 40% of the participants said it did. A conclusion was made that the mood is affected differently depending on personal preferences and previous experience.

Det här arbetet syftar till att genom design av en telefonapplikation undersöka hur ljud kan förstärkas av den omgivande miljön. Arbetet visar på hur miljöförstärkt ljud skiljer sig från ljudförstärkt miljö samt vilka begränsningar det innebär att använda en vanlig smartphone som plattform.  Ett långsiktigt mål är att genom en produkt som låter oetablerade ljudproducenter distribuera sina alster i den offentliga miljön främja fri kultur och kreativitet. Arbetet har följt principen för RtD (research through design), där designprocessen utgör det fall som studeras och dokumentationen av den utgör den bas av data som analyseras och leder till slutsatser kring ämnet. Designprocessen i detta arbete innebär en mindre omfattande användarstudie i enkätform för att identifiera målgrupp, krav och mål. Följd av en andra studie där en prototyp framtagen med grund i resultaten från användarstudien utvärderas av deltagare genom observation, intervju och reaktionskort.  De största utmaningarna för designen grundar sig i att ta fram en applikation som inte stör upplevelsen, men samtidigt kan instruera användaren i hur man använder applikationen. Utifrån arbetet dras slutsatsen att användarinstruktioner, såväl visuella som auditiva, löper större risk att störa upplevelsen i miljöförstärkt ljud än i ljudförstärkt miljö. Vidare konstateras att den största bristen i en lösning som bygger på standardutrustning i jämförelse med en lösning som nyttjar dedikerad utrustning utgörs av begränsningar när det kommer till att ange riktning med hjälp av ljudets rumslighet.

Dissertação de Mestrado em Engenharia Informática apresentada à Faculdade de Ciências e Tecnologia da Universidade de Coimbra
The following document presents all the work and study performed by Luís Miguel Carreira Marques on his Informatics Engineering Master’s dissertation, at the Faculty of Sciences and Technology of the University of Coimbra. This dissertation builds up on several subjects related to Sound Design, and how sound can be actively explored through a soundscape composition. Therefore, the direction of this project is to incorporate and develop a structured and meaningful soundscape composition in a mobile context (smartphones/tablets), to be tested in an urban environment by the user in an interactive scenario. The desired interaction is provided by the user, with the player’s movement input of the mobile application being the user’s real movement, while he is walking through urban scenarios and being engaged by the soundscape composition that is played, leading him to a real live sound experience. This acts as an audio exploration in an Augmented Reality context. Through this document is presented each step of the project, from its elaboration stages to the state of the art and architecture, and the detailed evolution of the prototype implementation as well as the tests performed to validate the defined research goals.

Yes
Tranquillity characterized by a pleasant but calming environment is often to be found in natural environments where man-made noise is at a low level though natural sounds can be relatively high. Numerous studies have shown a link between such restorative environments and hospital recovery rates, stress reduction, longevity, pain relief and even how the brain processes auditory signals. In hospitals and primary care facilities there is a need to improve patient waiting rooms as current designs are largely based solely on medical need. There are often long waits in such spaces and patients are coping with the stress and anxiety caused by their medical condition. Attention should therefore be given to creating ‘‘restorative environment” as a component to their medical treatment. The study describes the effects of introducing natural sounds and large images of natural landscapes into a waiting room in a student health center. Using self reported levels of anxiety and tranquillity it was possible to assess the impact that these targeted auditory and visual interventions had in affecting the quality of the patient experience. Following the changes results show that levels of reported tranquillity were significantly improved but there were smaller change in reported reductions in anxiety.

碩士
輔仁大學
景觀設計學系碩士班
99
The main purpose of this study is to explore an unique factor in landscape designsound.Recently, the rising economy along with the higher pressure of living in Taiwan brought up a lot of issues such as massive visual landscape and the damage of biological environment. In this crowded unban area our senses are already filled by variety of activities and voices. How to seek a balance between life and environment and to arouse our senses are the principles of this study. Through the observation of human behavior,how people interaction with the sound, and the analysis of the literature, we found that if we play the sound of bird singing, the soft music, and the water, the people stay will increase to 46%. Especially the sound of the bird singing and the soft music are most attractive which can increase the time people want to stay. This study attempts to escape the frame from the original landscape design for parks in urban area which stress of "functional", "visual", and "social" features. We choose the green belt between Taipei MRT Zhongshan Station and Shuanglian station as our bases where we want to apply the perspective of soundscape design. In addition, we use the sounds of birds, waterfalls, quiet water, running water, gushing water, wind, woods, and the collision sound of bamboos and rocks as the elements of the soundscape design. The using of the natural voices is to block the noise for designing the habitat. There are three main soundscape design: the area of a bunch of bamboo and the forest for recreation, where people can sit, relax, and feel the connection between visual and voice senses; the application of water scenery and the changes of the pavement for the road which can increase the entertainment of the space; and the sound of the seat which has the interactive design, musical ladders, and the metal phones to make the environment more abundant. We redesign the green belt between Taipei MRT Zhongshan Station and Shuanglian station to an area which has the soundscape. Furthermore, by reducing the noises of the original urban area we can enhance people＇s perception about the environment and have better senses for soundscape. After completing the soundscape design, we summarized three conclusions. First. We find more possibility of soundscape design by using nature factors. Second, the application of soundscape design in parks can increase people＇s preference of the place. Third, by using the soundscape design we can promote the diversity of functions and meanings of the space. Finally, using the computer to picture and showing the results can provide references for related departments for future soundscape design in urban green land.

Human society is presently beset by an array of anthropogenic social-ecological crises that threaten the sustainability of the social-ecological systems that sustain our livelihoods. While research alone will not rectify these issues, it can help to answer key questions that must be addressed to develop effective solutions. To address such questions in a cohesive, compelling manner, social-ecological research can be bounded, structured, and distilled through innumerable organizing principles or theoretical frameworks. For this dissertation, I focused on the geographic region of Tierra del Fuego and sought to draw from the array of disciplines and methods that use sound as a lens for biological, ecological, and/or social inquiry. I also endeavored to consider various temporal, spatial, and organizational scales while investigating a selection of topics with a) specific importance in the social-ecological systems of Tierra del Fuego and b) general relevance to global social-ecological challenges. Chapter 1 provides an introduction to the dissertation, and Chapter 6 serves as a conclusion.

The objective of Chapter 2, “Biogeographical and analytical implications of temporal variability in geographically diverse soundscapes”, was to provide some guidance to passive acoustic monitoring (PAM) practitioners on how to design appropriate temporal sampling schemes based on the temporal variability of the sounds one wishes to measure and the power and storage limitations of acoustic recorders. We first quantified the temporal variability of several soundscape measurements and compared that variability across sites and times of day. We also simulated a wide range of temporal sampling schemes in order to model their representativeness relative to continuous sampling.

For Chapter 3, “Sentinels for sentinels: passive acoustic and camera trap monitoring of sensitive penguin populations”, we tested the utility of PAM to monitor behavior and abundance of Magellanic (Spheniscus magellanicus) and southern rockhopper penguins (Eudyptes chrysocome) at different spatial and temporal scales. We conducted in situ observations of the acoustic behavior of each species, and we compared acoustic metrics with penguin counts from narrowly focused camera traps and larger-extent observations of colony density.

Chapter 4, “Acoustic monitoring shows invasive beavers (Castor canadensis) increase avian diversity in Tierra del Fuego”, is focused on impacts of the invasive North American beaver (Castor canadensis) on Fuegian bird communities. We sought to determine how bird communities might differ between intact riparian forests, beaver ponds, and beaver meadows created by pond drainage. We conducted PAM and classic avian point counts under each of these conditions across seasons to test for differences between impact conditions and to compare the two methodologies.

For Chapter 5, “Human-nature connection and soundscape perception: insights from Tierra del Fuego, Argentina”, we evaluated the relationship between soundscape perception and nature relatedness by conducting surveys and soliciting responses to soundscape audio prompts. We also examined the potential for any demographic influences on nature relatedness or soundscape perception in the context of local social tensions.

This dissertation is about sound in context. Since sensory processing is inherently multimodal, research in sound is necessarily multidisciplinary. The present work has been guided by principles of systematicity, ecological validity, complementarity of  methods, and integration of science and art. The main tools to investigate the mediating relationship of people and environment through sound have been empiricism and psychophysics. Four of the seven included papers focus on perception. In paper A, urban soundscapes were reproduced in a 3D installation. Analysis of results from an experiment revealed correlations between acoustic features and physiological indicators of stress and relaxation. Paper B evaluated soundscapes of different type. Perceived quality was predicted not only by psychoacoustic descriptors but also personality traits. Sound reproduction quality was manipulated in paper D, causing two effects on source localisation which were explained by spatial and semantic crossmodal correspondences. Crossmodal correspondence was central in paper C, a study of colour association with music. A response interface employing CIE Lab colour space, a novelty in music emotion research, was developed. A mixed method approach supported an emotion mediation hypothesis, evidenced in regression models and participant interviews. Three papers focus on design. Field surveys and acoustic measurements were carried out in restaurants. Paper E charted relations between acoustic, physical, and perceptual features, focussing on designable elements and materials. This investigation was pursued in Paper F where a taxonomy of sound sources was developed. Analysis of questionnaire data revealed perceptual and crossmodal effects. Lastly, paper G discussed how crossmodal correspondences facilitated creation of meaning in music by infusing ecologically founded sonification parameters with visual and spatial metaphors. The seven papers constitute an investigation into how sound affects us, and what sound means to us.
Denna doktorsavhandling handlar om ljud i sammanhang. Eftersom informationsbehandling genom sinnena alltid är multimodal så kräver ljudforskning en tvärvetenskaplig forskningsansats. Arbetet i denna avhandling har vägletts av principer såsom systematik, ekologisk validitet, samspel mellan metoder, och integration av vetenskap och konst. De viktigaste redskapen för att undersöka den ömsesidiga påverkan mellan människa och miljö genom ljud har varit empiri och psykofysik.Fyra artiklar handlar om perception. I artikel A återskapades urbana ljudlandskap i en 3D-ljudinstallation. Analys av experimentresultat avslöjade samband mellan akustiska mått och fysiologiska markörer av stress och avslappning.  Artikel B utvärderade olika typer av ljudlandskap. Upplevd kvalitet kunde prediceras inte bara av psykoakustiska mått utan även av personlighetsdrag. Ljudåtergivningskvalitet manipulerades i artikel D och orsakade två effekter på lokalisering av en ljudkälla vilka förklarades av rumslig och semantisk korsmodala kopplingar. Korsmodalitet var huvudpunkten i artikel C, en studie av färgassociation till musik. Ett användargränssnitt utvecklades som använder färgrymden CIE Lab, en nyhet i forskningfältet musik och känslor. En abduktiv metod stödde hypotesen att känslouttryck medierar korsmodala kopplingar, vilket framgick av regressionsmodeller och intervjuer med försökspersonerna.Tre artiklar handlar om design. Fältundersökningar och ljudmätningar utfördes i restauranger. Artikel E kartlade samband mellan akustiska, fysiska och perceptuella särdrag, med fokus på formbara element och material. Detta arbete fortsattes i artikel F varigenom en taxonomi av ljudkällor utvecklades. Analys av enkätdata avslöjade perceptuella och korsmodala effekter. Slutligen, artikel G diskuterade hur korsmodala kopplingar främjade meningsskapande i musik genom att ekologiskt motiverade sonifikationsparametrar samverkade med visuella och spatiala uttryck. De sju artiklarna utgör landmärken i avhandlingens utforskande av hur ljud påverkar oss, och vad ljud betyder för oss.

QC 20151118

Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e Tecnologia
Com a chegada da pandemia da Covid-19, experienciamos várias mudanças nas nossas vidas. Como consequência dessas alterações, não só as pessoas, mas também o planeta, em geral, sentiu essas variações. Algumas destas mudanças ocorreram ao nível sonoro, nomeadamente na identidade sonora, uma vez que a presença humana se ausentou no meio urbano, tornando a natureza mais audível em certos locais. Com este projeto, pretende-se a criação de uma plataforma para reunir gravações sonoras em diferentes espaços abertos, tanto rurais como urbanos, com o objetivo de tentar perceber as mudanças dos ambientes sonoros que sucederam à custa da pandemia.Com a chegada da pandemia da Covid-19, experienciamos várias mudanças nas nossas vidas. Como consequência dessas alterações, não só as pessoas, mas também o planeta, em geral, sentiu essas variações. Algumas destas mudanças ocorreram ao nível sonoro, nomeadamente na identidade sonora, uma vez que a presença humana se ausentou no meio urbano, tornando a natureza mais audível em certos locais. Com este projeto, pretende-se a criação de uma plataforma para reunir gravações sonoras em diferentes espaços abertos, tanto rurais como urbanos, com o objetivo de tentar perceber as mudanças dos ambientes sonoros que sucederam à custa da pandemia.Com a chegada da pandemia da Covid-19, experienciamos várias mudanças nas nossas vidas. Como consequência dessas alterações, não só as pessoas, mas também o planeta, em geral, sentiu essas variações. Algumas destas mudanças ocorreram ao nível sonoro, nomeadamente na identidade sonora, uma vez que a presença humana se ausentou no meio urbano, tornando a natureza mais audível em certos locais. Com este projeto, pretende-se a criação de uma plataforma para reunir gravações sonoras em diferentes espaços abertos, tanto rurais como urbanos, com o objetivo de tentar perceber as mudanças dos ambientes sonoros que sucederam à custa da pandemia.Com a chegada da pandemia da Covid-19, experienciamos várias mudanças nas nossas vidas. Como consequência dessas alterações, não só as pessoas, mas também o planeta, em geral, sentiu essas variações. Algumas destas mudanças ocorreram ao nível sonoro, nomeadamente na identidade sonora, uma vez que a presença humana se ausentou no meio urbano, tornando a natureza mais audível em certos locais. Com este projeto, pretende-se a criação de uma plataforma para reunir gravações sonoras em diferentes espaços abertos, tanto rurais como urbanos, com o objetivo de tentar perceber as mudanças dos ambientes sonoros que sucederam à custa da pandemia.
With the arrival of the Covid-19 pandemic, we experienced several changes in our lives. As a result of these changes, not only people, but also the planet, in general, felt these variations. Some of these effects occurred at the sound level, namely in the sound identity, since the human presence became absent in the urban environment, making nature more audible in certain areas. Thus, this project aims at creating a platform to gather sound recordings in different open spaces, both rural and urban, in order to try to understand the changes in sound environments that happened due to the pandemic.With the arrival of the Covid-19 pandemic, we experienced several changes in our lives. As a result of these changes, not only people, but also the planet, in general, felt these variations. Some of these effects occurred at the sound level, namely in the sound identity, since the human presence became absent in the urban environment, making nature more audible in certain areas. Thus, this project aims at creating a platform to gather sound recordings in different open spaces, both rural and urban, in order to try to understand the changes in sound environments that happened due to the pandemic.With the arrival of the Covid-19 pandemic, we experienced several changes in our lives. As a result of these changes, not only people, but also the planet, in general, felt these variations. Some of these effects occurred at the sound level, namely in the sound identity, since the human presence became absent in the urban environment, making nature more audible in certain areas. Thus, this project aims at creating a platform to gather sound recordings in different open spaces, both rural and urban, in order to try to understand the changes in sound environments that happened due to the pandemic.