Academic literature on the topic 'Yasunao Tone'

From the initial release of the CD in 1982, artists have tampered with the system to test it, compose with it and sample from it. The author examines the use of the cracked and manipulated CD in the work of Yasunao Tone, Nicolas Collins and Oval in relation to their differing approaches and the role of the CD in sound expansion. Tone and Collins are interested in indeterminacy and the benevolent catastrophe in composition, while Oval's process has more in common with pop production and studio practices.

This paper presents some results of rainfall forecast in the monsoon onset period in South Vietnam, with the use of ensemble Kalman filter to assimilate observation data into the initial field of the model. The study of rainfall forecasts are experimented at the time of Southern monsoon outbreaks for 3 years (2005, 2008 and 2009), corresponding to 18 cases. In each case, there are five trials, including satellite wind data assimilation, upper-air sounding data assimilation, mixed data (satellite wind+upper-air sounding data) assimilation and two controlled trials (one single predictive test and one multi-physical ensemble prediction), which is equivalent to 85 forecasts for one trial. Based on the statistical evaluation of 36 samples (18 meteorological stations and 18 trials), the results show that Kalman filter assimilates satellite wind data to forecast well rainfall at 48 hours and 72 hours ranges. With 24 hour forecasting period, upper-air sounding data assimilation and mixed data assimilation experiments predicted better rainfall than non-assimilation tests. The results of the assessment based on the phase prediction indicators also show that the ensemble Kalman filter assimilating satellite wind data and mixed data sets improve the rain forecasting capability of the model at 48 hours and 72 hour ranges, while the upper-air sounding data assimilation test produces satisfactory results at the 72 hour forecast range, and the multi-physical ensemble test predicted good rainfall at 24 hour and 48 hour forecasts. The results of this research initially lead to a new research approach, Kalman Filter Application that assimilates the existing observation data into input data of the model that can improve the quality of rainfall forecast in Southern Vietnam and overall country in general.References Bui Minh Tuan, Nguyen Minh Truong, 2013. 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A hydrological definition of India monsoon onset and withdrawal. J. Climate, 16, 3200-3211.Haltiner G.J., Williams R.T., 1982. Numerical prediction and dynamic meteorology, John Wiley and Sons, New York.Hamill T.M., Whitaker J.S., Snyder C., 2001. Distance-dependent filtering of background error covariance estimates in an ensemble Kalman filter. Mon. Wea. Rev., 129, 2776.He J., Yu J., Shen X., and Gao H., 2004. Research on mechanism and variability of East Asia monsoon. J. Trop. Meteo, 20(5), 449-459.Hoang Duc Cuong, 2008. Experimental study on heavy rain forecast in Vietnam using MM5 model. A report on the Ministerial-level research projects on science and technology, 105p.Houtekamer P.L., Mitchell H.L., Pellerin G., Buehner M., Charron M., Spacek L., Hansen B., 2005. Atmospheric data assimilation with an ensemble Kalman filter: Results with real observations. Mon. Wea. Rev., 133, 604.Houtekamer P.L., Mitchell H.L., 2005. Ensemble Kalman filtering, Quart. J. Roy. Meteor. Soc., 131C, 3269-3289.Hunt B.R., Kostelich E., Szunyogh I., 2007. Efficient data assimilation for spatiotemporal chaos: a local ensemble transform Kalman filter. Physica D., 230, 112-126.Kalnay E., 2003. Atmospheric modeling, data assimilation and predictability. Cambridge University Press, 181.Kalnay et al., 2008. A local ensemble transform Kalman filter data assimilation system for the NCEP global model. Tellus A, 60(1), 113-130.Kato T., Aranami K., 2009. Formation Factors of 2004 Niigata-Fukushima and Fukui Heavy Rainfalls and Problems in the Predictions using a Cloud-Resolving Model. SOLA. 10, doi:10.2151/sola.Kieu C.Q., 2010. Estimation of Model Error in the Kalman Filter by Perturbed Forcing. VNU Journal of Science, Natural Sciences and Technology, 26(3S), 310-316.Kieu C.Q., 2011. Overview of the Ensemble Kalman Filter and Its Application to the Weather Research and Forecasting (WRF) model. 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Adv. Atmos. Sci., 14,141-162.Li C., Qu X., 1999. Characteristics of Atmospheric Circulation Associated with Summer monsoon onset in the South China Sea. Onset and Evolution of the South China Sea Monsoon and Its Interaction with the Ocean. Ding Yihui, and Li Chongyin, Eds, Chinese Meteorological Press, Beijing, 200-209.Lin N., Smith J.A., Villarini G., Marchok T.P., Baeck M.L., 2010. Modeling Extreme Rainfall, Winds,and Surge from Hurricane Isabel, 25. Doi: 10.1175/2010WAF2222349.Lu J., Zhang Q., Tao S., and Ju J., 2006. The onset and advance of the Asian summer monsoon. Chinese Science Bulletin, 51(1), 80-88.Matsumoto J., 1997. Seasonal transition of summer rainy season over Indochina and adjacent monsoon region. Adv. Atmos. Sci., 14, 231-245.Miyoshi T., and Kunii M., 2012. The Local Ensenble Transform Kalman Filter with the Weather Rearch and Forecasting Model: Experiments with Real Observation. Pure Appl. Geophysic, 169(3), 321-333. Miyoshi T., Yamane S., 2007. Local ensemble transform Kalman filtering with an AGCM at a T159/L48 resolution. Mon. Wea. Rev., 135, 3841-3861.Nguyen Khanh Van, Tong Phuc Tuan, Vuong Van Vu, Nguyen Manh Ha, 2013. The heavy rain differences based on topo-geographical analyse at Coastal Central Region, from Thanh Hoa to Khanh Hoa. J. Sciences of the Earth, 35, 301-309.Nguyen Minh Truong, Bui Minh Tuan, 2013. A case study on summer monsoon onset prediction for southern Vietnam in 2012 using the RAMS model. VNU Journal of Science, 29(1S), 179-186.Phillips N.A., 1960b. Numerical weather prediction. Adv. Computers, 1, 43-91, Kalnay 2004.Phillips N., 1960a. On the problem of the initial data for the primitive equations, Tellus, 12, 121126.Phuong Nguyen Duc, 2013. Experiment on combinatorial Kalman filtering method for WRF model to forecast heavy rain in central region in Vietnam. The Third International MAHASRI/HyARC Workshop on Asian Monsoon and Water Cycle, 28-30 August 2013, Da Nang, Viet Nam, 217-224.Richardson L.F., 1922. Weather prediction by numerical process. Cambridge University Press, Cambridge. Reprinted by Dover (1965, New York).Routray, Mohanty U.C., Niyogi D., Rizvi S.R., Osuri K.K., 2008. First application of 3DVAR-WRF data assimilation for mesoscale simulation of heavy rainfall events over Indian Monsoon region. Journal of the Royal Meteorological Society, 1555.Schumacher, R. S., C. A. Davis, 2010. Ensemble-based Forecast Uncertainty Analysis of Diverse Heavy Rainfall Events, 25. Doi: 10.1175/2010WAF2222378.Snyder C., Zhang F., 2003. Assimilation of simulated Doppler radar observations with an Ensemble Kalman filter. Mon. Wea. Rev., 131, 1663.Szunyogh I., Kostelich E.J., Gyarmati G., Kalnay E., Hunt B.R., Ott E., Satterfield E., Yorke J.A., 2008. A local ensemble transform Kalman filter data assimilation system for the NCEP global model. 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The history of sound art has been a case of displacement and misplacement. It has been displaced due to the nature of the medium – sound, a phenomenon that is heard and felt but not seen. In a visually dominated world like ours, this spells the relegation of the importance of sound and audio sensitivity in a human’s perception, cognition and consciousness. It is misplaced as it is more often categorically subsumed under the other art form, music. Sound art is in fact one of the most ancient of art forms when the name of Greek god of wind, Aeolus, was used to name the Aeolian harp. Sound art has often been defined, in the late 20th century and early 21st century and by academics and critics, as a novel form of art. Once again it is another case of displacement and misplacement. The two case studies which will be discussed in this paper will foreground the social and political contexts of the artists as well as their responses to these socio-­political conditions to demonstrate that sound art, just like any other art forms like paintings, music and theatre, is reflexive of the times of the creators, and more.

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Yasunao Tone, Carsten Nicolai and Ryoji Ikeda are three practitioners representative of electronic music and sound-art practices that emerged in the 1990s where sound materials not normally considered musical, such as digital clicks, glitches and bursts of white noise, are prevalent. It is notable that the origins of this body of work lay outside of the established music institutions of academia and the mainstream popular music industry. Practitioners such as these are often associated with particular record labels including Mille Plateaux or Raster-Noton and attempts to coalesce these practices into a single, unified genre have been made by Cascone (2000), Sangild (2004) and Kelly (2009). These assessments however, tend to critique work mainly in technological terms. In contrast, this thesis draws out deeper philosophical concerns relevant to these practices through a critical analysis of materials produced by and about these practitioners, including commercial releases, works, writings and interviews. What emerges from this is that Heidegger's notion of truth as `revealing' and Derrida's critique of phonocentrism can provide a clearer philosophical framework for a consideration of this work. This framework, by extension could be used to critique other sound art or music practices. Moreover, ideas found in Attali's (1985) telling of economic history through music are applied to these practices in order to argue that the use of "noise" materials reflects a wider cultural shift away from the notion of "value" as something quantified, abstract and intrinsic, predominant since the Age of Enlightenment, towards one concerned with the qualitative, contextual and extrinsic. This is related to Kim-Cohen's (2009) advocacy of a conceptual sound art to argue that noise practices represent forms of practice that challenge both notions of "absolute" music - music primarily understood 'as a numerical sign system' (Kim-Cohen 2009: 40) - and prevailing political-economic structures.

From the mid 20th century into the 21st, artists and musicians manipulated, cracked and broke audio media technologies to produce novel, unique and indeterminate sounds and performances. Artists such as John Cage, Nam June Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo Yoshihide pulled apart the technologies of music playback, both the playback devices � phonographs and CD players � and the recorded media � vinyl records and Compact Discs. Based in the sound expansion of the 20th century musical avant garde, this practice connects the interdisciplinary Fluxus movement with late 20th century sound art and experimental electronic music. Cracked and broken media techniques play a significant role in 20th century music and sound, and continue to be productive into the 21st. The primary contribution of this thesis is to provide a novel and detailed historical account of these practices. In addition it considers theoretical approaches to this work. After considering approaches through critiques of recording media, and concepts of noise, this thesis proposes novel theorisations focusing on materiality and the everyday. Ultimately it proposes that these practices can be read as precursors to contemporary new media, as music and sound art cracked open the fixed structures of �old media� technologies for their own creative purposes.