Literatura académica sobre el tema "Everyday sound"
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Artículos de revistas sobre el tema "Everyday sound"
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Kidd, Gary R. y Charles S. Watson. "Sound quality judgments of everyday sounds". Journal of the Acoustical Society of America 106, n.º 4 (octubre de 1999): 2267. http://dx.doi.org/10.1121/1.427740.
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Ballas, James A. y Mark E. Barnes. "Everyday Sound Perception and Aging". Proceedings of the Human Factors Society Annual Meeting 32, n.º 3 (octubre de 1988): 194–97. http://dx.doi.org/10.1177/154193128803200305.
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Age related hearing loss is extensively documented in both longitudinal and cross-sectional studies but there are no direct studies of the ability of older persons to perceive everyday sounds. There is evidence suggesting some impairment. Vanderveer (1979) observed that older listeners had difficulty interpreting environmental sounds but did not report any performance data. Demands imposed by the stimulus properties of this type of sound and by the perceptual and cognitive processes found to mediate perception of this sound in college-aged listeners may present difficulty for older listeners. Forty-seven members of a retired organization were given a subset of sounds that had been used in previous identification studies. Identification data for the same set of sounds had been previously obtained from high school and college students (Ballas, Dick, & Groshek, 1987). The ability of the aged group to identify this set of sounds was not significantly different from the ability of a student group. In fact, uncertainties were closely matched except for a few sounds. Directions for future research are discussed.
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Hollerweger, Florian. "Sound Installation 24/7: Aestheticizing Everyday Sound and Rhythm". Leonardo Music Journal 23 (diciembre de 2013): 21. http://dx.doi.org/10.1162/lmj_a_00147.
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Featuring a set of microphones inside a dummy head situated within a gallery space, the author's installation 24/7 first records and later replays sounds sourced from within the space, representing past moments in time.
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Uimonen, Heikki. "Everyday Sounds Revealed: Acoustic communication and environmental recordings". Organised Sound 16, n.º 3 (15 de noviembre de 2011): 256–63. http://dx.doi.org/10.1017/s1355771811000264.
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Environmental sounds give information to individuals who have learned to interpret them as members of their acoustic communities. Those living within a soundscape not only receive the acoustic information passively, but also construct their surroundings by their activities.A lot of acoustic information escapes our conscious attention partly for perceptual psychological reasons, partly because of the amount of acoustic information. A method called sound/listening walk has been applied to enhance these everyday meanings connected to sounds and to emphasise the cultural and historical layers related to them.The article introduces earlier research and methodology on the subject, applies the recording of acoustic environments to sound/listening walks and then proposes a preliminary method called recorded listening walk for acoustic communication research and soundscape education. The article draws theoretically on acoustic communication and acoustemology.
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Penna, Xristina. "Uncovered – Performing everyday clothes". Scene 2, n.º 1 (1 de octubre de 2014): 9–14. http://dx.doi.org/10.1386/scene.2.1-2.9_1.
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Uncovered is an interactive installation based on a simple yet complex performance system that uses the participants’ clothes as a springboard for devising material for the show ad hoc. Everyday clothes are performing in Uncovered and consist the material for the show. They are the objects that tranverse from a ‘silent existence’ to an ‘oral state’ open to appropriation (Barthes [1957] 2009: 131). Gaston Bachelard would argue that ‘immensity is an intimate dimension’ (Bachelard [1958] 1994: 194) and also that ‘immensity is a philosophical category of a daydream’ ([1958] 1994: 183). During an interview session the audience/participant encounters the projected image of one of his or her clothes and re-thinks, rejects, remembers, reflects, resists with this image. The artist makes a rough copy of the garment using white fabric while the sound designer picks up sound from the clothes and composes a short sound piece. The team of three (performer, sound designer and the artist) with the use of projection, live camera feed, sound, the body of the performer and the piece of clothing itself, present a two-minute improvisation to each one of the audience/participants. The audience are invited in an intimate space to daydream and reflect by looking at the image of one of their clothes. In this visual essay I will use the metaphor of zooming in the network-like-texture of a fabric in an attempt to communicate the experience of Uncovered: the layers and immense weaving of thoughts, emotions, memories that was triggered by the delimiting image of the participants’ clothes.
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Droumeva, Milena y Iain McGregor. "Sound Stories: A Context-Based Study of Everyday Listening to Augmented Soundscapes". Interacting with Computers 31, n.º 3 (1 de mayo de 2019): 336–47. http://dx.doi.org/10.1093/iwc/iwz024.
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Abstract With an increasing number of everyday operations and communications becoming both automated and autonomous, ambient intelligent soundscapes are transforming to accommodate additional sonic feedback, and with it, new frameworks of listening. While this type of research and design of audio augmented technology is not new, the impact pre-existing acoustic environments upon listeners’ sense-making activities is rarely considered holistically. Much of the study into the design of effective auditory displays focuses on perceptual acuity and correct source identification, often at the expense of understanding the context of meaning-making. This paper presents a study involving 70 participants who listened to unidentified audio recordings of two archetypal everyday urban sound environments naturally containing artificial signals as well as typical sounds. Using a ThinkAloud protocol we investigated listeners’ approaches to meaning-making in both semantic and temporal dimensions. Through a semantic content analysis, we articulate five aspects of sonic meaning-making: spatial, descriptive, experiential, associational and narrative. We further analyse the use of these perceptual elements on a temporal plane, in order to investigate how listeners construct a narrative of what they hear in real-time, naturally evolving as each subsequent sound event is interpreted. Results suggest that while listeners attend to sound events and spatial characteristics of a sound environment at the beginning of a new listening situation, as the soundscape unfolds they utilize associations and familiarity in order to place individual sounds into increasingly coherent narratives. Finally, we suggest that this approach could provide sound designers and human–computer interaction specialists with a model for investigating the context aspects of a soundscape more holistically, allowing them to evaluate the effect of any new designed sounds prior to introduction into real-world environments.
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Susini, Patrick, Olivier Houix y Nicolas Misdariis. "Sound design: an applied, experimental framework to study the perception of everyday sounds". New Soundtrack 4, n.º 2 (septiembre de 2014): 103–21. http://dx.doi.org/10.3366/sound.2014.0057.
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Mcgregor, Milena Droumeva Iain. "Sound Stories". ITNOW 62, n.º 1 (17 de febrero de 2020): 66. http://dx.doi.org/10.1093/itnow/bwaa031.
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Abstract The paper ‘Sound Stories: A Context-Based Study of Everyday Listening to Augmented Soundscapes’ by Milena Droumeva and Iain McGregor published in Interacting with Computers, Volume 31, Issue 3, May 2019, explores how soundscapes are transforming to accommodate additional sonic feedback.
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Hall, Tom, Brett Lashua y Amanda Coffey. "Sound and the Everyday in Qualitative Research". Qualitative Inquiry 14, n.º 6 (27 de junio de 2008): 1019–40. http://dx.doi.org/10.1177/1077800407312054.
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Christensen, Jeppe, Klaudia Andersson y Tobias Neher. "Distinct influence of everyday noise on cardiovascular stress". INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, n.º 7 (1 de febrero de 2023): 242–47. http://dx.doi.org/10.3397/in_2022_0038.
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High-intensity environmental noise is known to be detrimental to cardiovascular health. However, individual differences have not been considered, and reported effects cannot be generalized to noise levels reflecting everyday life. Here, we explore the relationship between daily-life sound exposure and heart rate with longitudinal data from ten individuals across three weeks. We analyze the daily short-term covariation between changes in heart rate and sound intensity using multi-level regression and Granger analysis. We find strong evidence that everyday sound exposure is related to heart rate in all participants. Sound intensity is linearly and positively related to heart rate, while the ambient signal-to-noise ratio has a negative association to heart rate in louder environments. Across participants we establish a distinct temporal pattern of Granger causality with stronger influence of the sound environment on heart rate from 6:00 hrs to 16:00 hrs than for the rest of the afternoon/evening. We propose that sound sensitivity measures represent a combination of the amount of effort asserted to listen under noisy conditions during the active periods of a day and the direct physiological sound-induced stress reaction. A thorough understanding of both factors is necessary to determine the full extent to which everyday noise influence long-term health.
Tesis sobre el tema "Everyday sound"
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Ingham, James. "Sound worlds and everyday space". Thesis, University of East London, 1999. http://roar.uel.ac.uk/1251/.
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The starting point for this project was my MPhil thesis (University of Leeds, 1995) Aural Geographies. An Investigation of Sound In Everyday Space, which has as its subject matter the concept of sound in everyday space. The MPhil thesis argued that in considering everyday space more attention should be paid to the aural experience. The argument did not try to `bolt on' what is heard to what is seen. Rather it contemplated the intricate relationships between the visual and aural senses within everyday space. Following from the work which was undertaken for the MPhil it became clear that further and more substantial research into the area of sound and space was merited. This research has been carried out at the University of East London as a PhD programme, under the supervision of Professor Andrew Blake, who introduced me to numerous aspects of music analysis. The thesis acknowledges and expands upon the work on sound carried out by the limited number of social theorists who have addressed this issue such as Adorno, Attali and in particular Schafer and his work on soundscapes. There is discussion throughout of the inspirational ideas of John Cage. The aim of the thesis, which is explored through many inter-related pieces of analysis and empirical work, is to expand upon our knowledge of the role of sound in everyday life. The thesis contributes towards knowledge by providing many new insights about the soundworld and its place in human experience. As befits a thesis which centres on the aural, the research methods are also innovatory allowing the readers/listeners themselves to experience sound worlds. The thesis therefore relies 111 heavily on newly-developed new recording/mapping techniques, using high quality audio recordings which are then used to produce digital sound maps in the form of hypermedia made available on a CD-ROM. The thesis demonstrates how these maps enable us to comprehend some of the complex sensory processes associated with sound worlds. Sound worlds are the main focus here, and in particular the way in which sound worlds are constructed by individuals. Where the MPhil examined sound in public spaces, this thesis further reflects on that investigation before going on to investigate the sound worlds generated in the living room (a key everyday space). This enables us to hear/see how the sound worlds associated with the living room link up with other everyday spaces. The contention is that sound is crucial for the organisation and operation of everyday space Though the thesis is persuasive in indicating the importance of the aural in everyday life, the question arises as to how the relationship between the aural and the visual can be represented in academic work, and especially in the discipline of geography. This question is addressed in the thesis by the presentation of a number of specially developed aural terms, such as `sonic order' and `sound maps'. The thesis describes how people organise their activities around sonic order, and explains how conflicts arise over sonic order. The thesis concludes that sound maps are present in everyday space and that people use them to navigate everyday space. This sensitivity to sound spaces generates geographical (aur/imagin)ations, which are in turn subject to study from within the discipline of geography.
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Fagelson, Marc A. "Hearing Aids and the Use of Everyday Sound". Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/1621.
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Hollerweger, F. "The revolution is hear! : sound art, the everyday and aural awareness". Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546359.
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Devore, Sasha. "Neural correlates and mechanisms of sound localization in everyday reverberant settings". Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54452.
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Thesis (Ph. D.)--Harvard-MIT Division of Health Sciences and Technology, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 161-176).
Nearly all listening environments-indoors and outdoors alike-are full of boundary surfaces (e.g., walls, trees, and rocks) that produce acoustic reflections. These reflections interfere with the direct sound arriving at a listener's ears, distorting the binaural cues for sound localization. Yet, human listeners have little difficulty localizing sounds in most settings. This thesis addresses fundamental questions regarding the neural basis of sound localization in everyday reverberant environments. In the first set of experiments, we investigate the effects of reverberation on the directional sensitivity of low-frequency auditory neurons sensitive to interaural time differences (ITD), the principal cue for localizing sound containing low frequency energy. Because reverberant energy builds up over time, the source location is represented relatively faithfully during the early portion of a sound, but this representation becomes increasingly degraded later in the stimulus. We show that the directional sensitivity of ITD-sensitive neurons in the auditory midbrain of anesthetized cats and awake rabbits follows a similar time course. However, the tendency of neurons to fire preferentially at the onset of a stimulus results in more robust directional sensitivity than expected, suggesting a simple mechanism for improving directional sensitivity in reverberation. To probe the role of temporal response dynamics, we use a conditioning paradigm to systematically alter temporal response patterns of single neurons. Results suggest that making temporal response patterns less onset-dominated typically leads to poorer directional sensitivity in reverberation. In parallel behavioral experiments, we show that human lateralization judgments are consistent with predictions from a population rate model for decoding the observed midbrain responses, suggesting a subcortical origin for robust sound localization in reverberant environments. In the second part of the thesis we examine the effects of reverberation on directional sensitivity of neurons across the tonotopic axis in the awake rabbit auditory midbrain. We find that reverberation degrades the directional sensitivity of single neurons, although the amount of degradation depends on the characteristic frequency and the type of binaural cues available. When ITD is the only available directional cue, low frequency neurons sensitive to ITD in the fine-time structure maintain better directional sensitivity in reverberation than high frequency neurons sensitive to ITD in the envelope. On the other hand, when both ITD and interaural level differences (ILD) cues are available, directional sensitivity is comparable throughout the tonotopic axis, suggesting that, at high frequencies, ILDs provide better directional information than envelope ITDs in reverberation. These findings can account for results from human psychophysical studies of spatial hearing in reverberant environments. This thesis marks fundamental progress towards elucidating the neural basis for spatial hearing in everyday settings. Overall, our results suggest that the information contained in the rate responses of neurons in the auditory midbrain is sufficient to account for human sound localization in reverberant environments.
by Sasha Devore.
Ph.D.
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Lindstrand, Karl. "Transitional Stages Between Everyday Numbness and Fixed Experience". Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223633.
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The aim of this thesis project has been to explore stages for performance that promotes situational displacement and questions cultural containment and inclusion. By implementing stages that merges with and leaks out in to the surrounding urban environment the aspiration has been to manipulate adjacent urban spaces and by doing so offer an alternative spatial imagination that provokes public consciousness and the possiblity of new subjective and collective engagement within our built environment.
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Nowak, Raphael. "The Digital Age of the Sound Environment: An Investigation of Everyday Interactions Between Listeners and Music". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367580.
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This thesis presents a sociological investigation of the everyday relationship between
Generation Y individuals and music through the mobilization of music technologies. First,
it aims to reinscribe the digital age of music reception within a historical, cultural and
material context, in order to provide an understanding of the multiple uses of music
technologies (vinyl discs, CDs, magnetic cassette tapes, MP3 files). Rather than
constituting a ‘revolution’, the digital age of music technologies is characterized by the
coexistence of various artefacts. In looking at how recorded music has evolved from the
advent of the phonograph to the latest digital technologies, I argue that the contemporary
state of music can’t be separated from previous eras. Hence the evolution of music
technologies, coupled with economic, demographic and cultural variables, points towards
an increasing multiplication and fragmentation of music audiences.
In this account of contemporary listening practices, I focus on Generation Y
individuals (those born between the late 1970s and the early 1990s) who have been
exposed to different music technologies throughout their lives. Born at the time of the
magnetic cassette tapes and during the golden age of the CD, Generation Y listeners
were also introduced to digital music files (MP3s) at a young age, and were among
the first to illegally download music from the internet. Their uses of music
technologies are differentiated by how they reflexively need music. Their practices
correspond to a ‘circuit of practices’ (Maggauda 2011) between different music
technologies that are utilized by listeners, and that help them create and manage
different listening practices in their everyday lives.
A key argument in this thesis is that the successive music technologies do not
replace, but rather complement one another. Thus, in focusing on their characteristics,
or ‘affordances’ (Gibson 1979; Hutchby 2001a; Bloomfield, Latham and Vurdubakis
2010), it is clear that mobilizing different music technologies enables listeners to
create and manage an everyday ‘sound environment’ (Martin 1995). In fact, the
‘affordances’ of music technologies are contextualized within ‘pragmatic interactions’
(Dant 2008). Thus the meaning of music is contingent on the situation of the music
listening practice. The sound environment is defined by a number of variables (place,
time, music technology, music content, listener’s state of mind and so on) that interact
within the timeframe of everyday life.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Þorgrímsdóttir, Erla Silfá. "Can't hear my eyes : Bootleg". Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3717.
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In this essay I will describe my working method as an artist with a political perspective, talking about what political art can be and how it can have an effect. I also write about the development of my work, from the interest in the independent nature person to the contrasting role as a citizen. I contextualize my artistic method by raising some questions that I find interesting when dealing with the public in relation to my method; I am recording sound in the city.Erla Silfá Þorgrímsdóttir
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Aragão, Thaís Amorim. "Doce som urbano : o triângulo e as territorializações dos vendedores de chegadinho em Fortaleza". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/60601.
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Este estudo propõe que nos debrucemos sobre o ambiente sonoro da cidade, a fim de investigar o que dele pode emergir, que seja chave para a compreensão da sociabilidade contemporânea em aglomerados urbanos. Investigamos o som como elemento central de um processo de territorialização, constituindo uma tática de apropriação do espaço público. O recorte apreendido foi o vendedor de um biscoito chamado chegadinho, os percursos que ele empreende para cobrir extensas áreas da cidade de Fortaleza em sua atividade, e o hábito de tocar um instrumento musical – o triângulo – para comunicar sua passagem e estabelecer contato com a população. Foram mobilizados informantes para localização desses eventos sonoros, formando um mapa de pontos de escuta. Paralelamente, ambulantes foram entrevistados e itinerários, traçados. Foi também realizada uma pesquisa histórica e memorial que forneceu um panorama da constituição daquele território e dos sons da capital a partir da primeira metade do século XX, assim como dos antecedentes, rebatimentos e reverberações da própria prática ambulante observada. Identificou-se que os vendedores abordados, quando em atividade, tendem a realizar um movimento do Centro em direção ao bairro Aldeota, reproduzindo ou acompanhando o vetor de deslocamento de residências e varejo característicos de camadas mais altas que se estabeleceu na dinâmica urbana de Fortaleza a partir da segunda metade do século XX. Foi possível perceber também a tendência de que os fluxos que emergiram dessas enunciações pedestres partem da zona oeste para a zona leste de Fortaleza, de áreas residenciais das camadas populares para áreas residenciais de camadas de média e alta renda. A partir da investigação, chegou-se à conclusão de que a passagem dos vendedores de chegadinho em Fortaleza se conforma como um padrão de fenômeno social associado à hierarquização do espaço físico como espaço social. O estudo se dedicou ao cotidiano, especialmente ao espaço banal de Milton Santos e à historicidade cotidiana de Michel de Certeau, para analisar como práticas humanas não apenas envolvem o uso do espaço mas também o criam. Assim como sugere Certeau, para quem a cultura popular é um conjunto móvel de táticas, os relatos de espaço coletados junto aos vendedores de chegadinho serviram de base de análise para entender o uso que esse grupo de sujeitos faz do repertório oferecido pelo sistema urbanístico – uso que é assumido como produção do espaço e que, para o autor, é uma atividade cultural de sujeitos não produtores de cultura convencionais.This study proposes to look into the urban soundscape, to investigate what it may emerge from it that it might be the key to understanding the contemporary sociability in urban conglomerates. We investigated the sound as a central element of a process of territorialization, constituting a tactical appropriation of public space. The selected object was the seller of a cookie named chegadinho, the routes he takes to cover large areas of the city of Fortaleza with the intention of performing his job, and the habit of playing a musical instrument - the triangle - to communicate his passage and establish contact with the population. Informants were mobilized to locate these sound events forming a map of listening points. In addition, vendors were interviewed and routes traced. We also carried out a historical and memorial research that provided an overview of the constitution of that territory and sounds of the capital from the first half of the twentieth century as well as the background, repercussions and reverberations of the observed peddler activities. We identified that the approached vendors, when performing their activities, tend to make a move from Downtown towards the Aldeota neighborhood, reproducing or following up the displacement vector of residences and retail characteristic of higher classes that was established in the urban dynamic of Fortaleza from the second half of the twentieth century. It was also possible to notice the trend of the flows that emerged from these pedestrians utterances start from the west to the east of Fortaleza, from lower classes residential areas to the middle and high class residential areas. From the research, we came to the conclusion that the passage of the chegadinho vendors in Fortaleza conforms to a pattern of social phenomenon associated with the hierarchy of physical space and social space. The study is devoted to daily life, especially Milton Santos banal area and the everyday historicity of Michel de Certeau, to analyze how human practices not only involve the use of space but also create it. As Certeau suggests, for whom popular culture is a mobile set of tactics, the spacial stories collected from the chegadinho vendors formed the basis of analysis to understand the use that this group of subjects makes of the offered urban system's repertoire – a use which is assumed as production of the space, and that for the author is a cultural activity of subjetcs who are non-producers of conventional culture.
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Ahmad, Wasim. "Analysis, modelling, and synthesis of everyday impact sounds". Thesis, University of Surrey, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543339.
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Ford, Felicity Valerie. "The Domestic Soundscape and beyond : presenting everyday sounds to audiences". Thesis, Oxford Brookes University, 2010. http://radar.brookes.ac.uk/radar/items/7e50609e-9838-91b2-a2fc-86103493075a/1.
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This PhD submission contains a select portfolio of practical works that have been created in answer to my research questions. This Thesis contextualises those works in a theoretical framework, linking them explicitly to the academic discourses with which they are inexorably bound. The introduction of this Thesis examines the research context in which research questions were formed. Evaluating a complicated previous project and describing a seminal, difficult encounter with the realm of sound art, this section explores some of the problems involved with presenting everyday sounds to audiences and proposes that these problems might in part be solved by forming new presentational strategies. Problems discussed include the difficulty of presenting everyday sounds to audiences who do not have access to the same information and knowledge that the work’s creator(s) have; presenting everyday sounds to audiences in conditions which offer limited scope for interaction and participation; and presenting everyday sounds to audiences which rely specifically on the primacy of those sounds alone to communicate a message to listeners. The questions that are formed in order to begin solving these problems include looking to feminist art practices of the 1960s/70s for inspiration regarding how theories concerning the value of everyday sounds might be practically applied to artmaking in domestic contexts; exploring ethnographic or Anthropological models to see how everyday sounds might be presented to audiences through investigative, participatory formats; investigating the possibilities for subverting or expanding the frameworks through which sound art is typically disseminated so that that territory might better accommodate the specific resonances and associations of everyday sounds; and proposing Internet-based strategies for presenting everyday sounds to audiences which are inherently intertextual, participatory, and social. The first Chapter of this Thesis examines how the home might be re-envisioned as a sound art site and brings the theories of John Cage together with feminist art thought to reinvent that space as a specifically sonic site. In the second Chapter, investigative anthropological approaches to the everyday are the focus of the discussion. This Chapter explores the context of radio as an inherently domestic medium, and discusses how it might be used as such for the presentation of everyday sounds to audiences. In the third Chapter of this thesis, I position my research in relation to the established tenets of contemporary sound art. Exploring ideas of subversion and critique, this Chapter looks at the proposed revisions to those established tenets which I have offered throughout my research. The final Chapter explores how I have used the Internet both in specific instances and more generally within my practice, connecting my research with emergent recording technologies and Internet platforms which allow everyday sounds to be socially shared. In the conclusion, I discuss what the key findings of exploring these questions have been.
Libros sobre el tema "Everyday sound"
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Acoustic territories: Sound culture and everyday life. New York: Continuum, 2010.
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Everyday physical science experiments with light. New York: Rosen Classroom Books and Materials, 2006.
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Mahoney, Judy. Teach me everyday Korean. Minnetonka, Minn: Teach Me Tapes, 2008.
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ill, Girouard Patrick, ed. Teach me-- everyday German. Minnetonka, MN: Teach Me Tapes, 2008.
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Mahoney, Judy. Teach me-- everyday Chinese. Minnetonka, MN: Teach Me Tapes, 2008.
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ill, Girouard Patrick, ed. Teach me-- everyday Russian. Minnetonka, MN: Teach Me Tapes, 2008.
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ill, Girouard Patrick, ed. Teach me everyday Hebrew. Minnetonka, Minn: Teach Me Tapes, 2008.
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ill, Girouard Patrick, ed. Teach me-- everyday French. Minnetonka, MN: Teach Me Tapes, 2008.
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Mahoney, Judy. Teach me-- everyday Japanese. Minnetonka, MN: Teach Me Tapes, 2008.
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ill, Girouard Patrick, ed. Teach me-- everyday Spanish. Minnetonka, MN: Teach Me Tapes, 2008.
Buscar texto completoCapítulos de libros sobre el tema "Everyday sound"
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Guastavino, Catherine. "Everyday Sound Categorization". En Computational Analysis of Sound Scenes and Events, 183–213. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63450-0_7.
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Garner, Tom A. "Sound and everyday experience". En How the World Listens, 157–85. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003178705-7.
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Cobussen, Marcel. "2 Framing". En Engaging with Everyday Sounds, 12–37. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0288.02.
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This chapter sets out the ways in which sound studies can contribute to our thinking about place; listening to a place can help us to perceive it as an active and unstable agent, participating and constituting in the moment the action takes place. The environment around us affects the absorption, reverberation, and diffraction of sound; therefore, sound gives us an indication of the space it is in. Additionally, the activities that occur in a place – along with their associated sounds – cause the place to be given meaning. In other words, a place provides a stage for a specific practice, and is an intersection of happenings. We then discuss why sounds are impactful and important for our culture; sound offers us a possibility to explore and reveal new ways of knowing, and to gain new knowledge of how human and non-human agents relate to one another and their environment. The dominance of the eye in Western history is detailed, through to the modern rise of ‘auditory culture’ and ‘sound studies’. The chapter also outlines the intent to sketch some contours of what sonic materialism could be(come) and how it deviates from the conceptual frameworks which have dominated Western culture and discourses. The objective behind this is to create affective relationships to places, to explore various listening attitudes, and to give a voice to the less ear-catching sounds of everyday life. The development of sonic materialism is described as being a quest into how the sonic can contribute to and participate in current philosophical discourses, without being encapsulated beforehand in the written or spoken language typical of philosophy or theorizing. In other words, it involves thinking in and through the sonic, rather than thinking about it. The identity of sounds is discussed, as well as the movement involved in creating them.
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Cobussen, Marcel. "3 The Familiarity of Everyday Sounds". En Engaging with Everyday Sounds, 38–57. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0288.03.
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In this chapter, sonic environments are described as characteristic traits of a place, which are perceived but not noticed, to the listener’s pleasure or annoyance. Under the topic of ‘annoyance’, misophonia and ‘the Hum’ are discussed, while under ‘pleasure’, Autonomous Sensory Meridian Response (ASMR) comes into play. Everyday sounds are described as comparable to music, rather than inferior to it. There is a discussion of “disciplining sounds”, where sounds guide, control, and manipulate us. The use of sound in this way shows us the extent to which we do actually monitor what is going on around us aurally, even without consciously paying attention. Finally, the chapter covers windows and doors, and the way in which they carry out sound management, preventing unwanted sounds from entering the house as best they can. As a result, windows and doors are argued to have a social, political, and ethical role which is closely connected to the sonic ambiance.
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Anumukonda, Madhubabu y Shubhajit Roy Chowdhury. "Heart Sound Sensing Through MEMS Microphone". En Sensors for Everyday Life, 121–34. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47319-2_7.
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Cobussen, Marcel. "5 The Ethics and Politics of Everyday Sounds". En Engaging with Everyday Sounds, 78–95. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0288.05.
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This chapter turns to solastalgia – a form of psychic or existential distress caused by changes in the home environment. Sonic solastalgia, in particular, is discussed in relation to the construction of a new highway or wind farm, the chopping down of trees, etc. The author then discusses resonance communities, and our inability to be entirely separated from other sonic environments. This means that sound is a (co-)constituent of our social lives – it can unite or divide, include or exclude, homogenize or heterogenized. It is set out that in and through sound we can express how we live together and share our common daily experiences. The way in which sounds are political is detailed – sounds influence modes of perception and are a means of (re)organizing private and public spaces. They also influence human agents on a cultural and pre-cultural (biological) level. Additionally, interactive sonic encounters are shown to relate to ethics.
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Cobussen, Marcel. "6 Coda". En Engaging with Everyday Sounds, 96–105. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0288.06.
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The notions of soundwalking, aural ecology, and soundmarks are discussed in this chapter, alongside the recording of sounds and how it interacts with these sounds. There is a conclusion of the author’s objectives – that one develops a (re)sensitization to one’s acoustic environment, so that one can see how they evoke a sense of time, space, distance, direction, and motion – as well as how they affect one’s behavior, mood, (inter)actions, and wellbeing. It is further emphasized that listening is not an activity that only living beings are capable of – “the vibrational force of sound means that it acts upon entities regardless of whether those entities are consciously listening to it or not” (Gallagher et al.).
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DebRoy, T. y H. K. D. H. Bhadeshia. "Stirring Solid Metals to Form Sound Welds". En Innovations in Everyday Engineering Materials, 21–34. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-57612-7_3.
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Nowak, Raphaël y Andy Bennett. "Sound Environments and Everyday Music Listening Practices". En Music Sociology, 87–106. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429264856-5.
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White-Schwoch, Travis y Nina Kraus. "The Janus Face of Auditory Learning: How Life in Sound Shapes Everyday Communication". En The Frequency-Following Response, 121–58. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47944-6_6.
Texto completoActas de conferencias sobre el tema "Everyday sound"
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Hermann, Thomas y Marian Weger. "Data-driven Auditory Contrast Enhancement for Everyday Sounds and Sonifications". En ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.005.
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We introduce Auditory Contrast Enhancement (ACE) as a technique to enhance sounds at hand of a given collection of sound or sonification examples that belong to different classes, such as sounds of machines with and without a certain malfunction, or medical data sonifications for different pathologies/conditions. A frequent use case in inductive data mining is the discovery of patterns in which such groups can be discerned, to guide subsequent paths for modelling and feature extraction. ACE provides researchers with a set of methods to render focussed auditory perspectives that accentuate inter-group differences and in turn also enhance the intra-group similarity, i.e. it warps sounds so that our human built-in metrics for assessing differences between sounds is better aligned to systematic differences between sounds belonging to different classes. We unfold and detail the concept along three different lines: temporal, spectral and spectrotemporal auditory contrast enhancement and we demonstrate their performance at hand of given sound and sonification collections.
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Page, David L. "Music & Sound-tracks of our everyday lives". En AM'19: Audio Mostly. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3356590.3356613.
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Bialkova, Svetlana y Marnix S. Van Gisbergen. "When sound modulates vision: VR applications for art and entertainment". En 2017 IEEE 3rd Workshop on Everyday Virtual Reality (WEVR). IEEE, 2017. http://dx.doi.org/10.1109/wevr.2017.7957714.
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Weger, Marian, Thomas Hermann y Robert Höldrich. "AltAR/Table: A Platform for Plausible Auditory Augmentation". En ICAD 2022: The 27th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2022. http://dx.doi.org/10.21785/icad2022.005.
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Auditory feedback from everyday interactions can be augmented to project digital information in the physical world. For that purpose, auditory augmentation modulates irrelevant aspects of already existing sounds while at the same time preserving relevant ones. A strategy for maintaining a certain level of plausibility is to metaphorically modulate the physical object itself. By mapping information to physical parameters instead of arbitrary sound parameters, it is assumed that even untrained users can draw on prior knowledge. Here we present AltAR/table, a hard- and software platform for plausible auditory augmentation of flat surfaces. It renders accurate augmentations of rectangular plates by capturing the structure-borne sound, feeding it through a physical sound model, and playing it back through the same object in real time. The implementation solves basic problems of equalization, active feedback control, spatialization, hand tracking, and low-latency signal processing. AltAR/table provides the technical foundations of object-centered auditory augmentations, for embedding sonifications into everyday objects such as tables, walls, or floors.
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El Hajj, Tracey. "Network Sonification and the Algorhythmics of Everyday Life". En ICAD 2021: The 26th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2021. http://dx.doi.org/10.21785/icad2021.027.
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Today, public concern with the extent to which they influence people’s routines, and how much they affect cultures and societies, has grown substantially. This paper argues that, by listening to networks, people can begin to apprehend, and even comprehend, the complex, ostensibly “magical” nature of network communications. One problem is that listening semantically to networks is incredibly difficult, if not impossible. Networks are very noisy, and they do not, for instance, use alphabetic language for internal or external communication. For the purpose of interpreting networks, I propose “tactical network sonification” (TNS), a technique that focuses on making the materiality of networks sensibly accessible to the general public, especially people who are not technology experts. Using an electromagnetic transduction device—Shintaro Miyazaki and Martin Howse’s Detektor—TNS results in crowded sound clips that represent the complexity of network infrastructure, through the many overlapping rhythms and layers of sound that each clip contains.
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Wolf, Katieanna y Rebecca Fiebrink. "Toward Supporting End-user Design of Soundscape Sonifications". En ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.046.
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In this paper, we explore the potential for everyday Twitter users to design and use soundscape sonifications as an alternative, “calm” modality for staying informed of Twitter activity. We first present the results of a survey assessing how 100 Twitter users currently use and change audio notifications. We then present a study in which 9 frequent Twitter users employed two user interfaces— with varying degrees of automation—to design, customize, and use soundscape sonifications of Twitter data. This work suggests that soundscapes have great potential for creating a calm technol ogy for maintaining awareness of Twitter data, and that sound scapes can be useful in helping people without prior experience in sound design think about sound in sophisticated ways and engage meaningfully in sonification design.
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Seiça, Mariana, Pedro Martins, Licínio Roque y F. Amílcar Cardoso. "A Sonification Experience to Portray the Sounds of Portuguese Consumption Habits". En ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.050.
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The stimuli for consumption is present in everyday life, where major retail companies play a role in providing a large range of products every single day. Using sonification techniques, we present a listening experiment of Portuguese consumption habits in the course of ten days, gathered from a Portuguese retail company. We focused on how to represent this time-series data as a musical piece that would engage the listener’s attention and promote an active listening attitude, exploring the influence of aesthetics in the perception of auditory displays. Through a phenomenological approach, ten participants were interviewed to gather perceptions evoked by the piece, and how the consumption variations were un-derstood. The tested composition revealed relevant associations about the data, with the consumption context indirectly present throughout the emerging themes: from the idea of everyday life, routine and consumption peaks to aesthetic aspects as the passage of time, frenzy and consumerism. Documentary, movie imagery and soundtrack were also perceived. Several musical aspects were also mentioned, as the constant, steady rhythm and the repetitive nature of the composition, and sensations such as pleasantness, sat-isfaction, annoyance, boredom and anxiety. These collected topics convey the incessant feeling and consumption needs which portray our present society, offering new paths for comprehending musical sound perception and consequent exploration.
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May, Keenan R., Briana Sobel, Jeff Wilson y Bruce N. Walker. "Auditory Displays to Facilitate Object Targeting in 3D Space". En ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.008.
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In both extreme and everyday situations, humans need to find nearby objects that cannot be located visually. In such situations, auditory display technology could be used to display information supporting object targeting. Unfortunately, spatial audio inadequately conveys sound source elevation, which is crucial for locating objects in 3D space. To address this, three auditory display concepts were developed and evaluated in the context of finding objects within a virtual room, in either low or no visibility conditions: (1) a one-time height-denoting “area cue,” (2) ongoing “proximity feedback,” or (3) both. All three led to improvements in performance and subjective workload compared to no sound. Displays (2) and (3) led to the largest improvements. This pattern was smaller, but still present, when visibility was low, compared to no visibility. These results indicate that persons who need to locate nearby objects in limited visibility conditions could benefit from the types of auditory displays considered here.
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Madaghiele, Vincenzo y Sandra Pauletto. "Investigating Real-Time Feedback of Energy Consumption and Emission Data Through Sonic Interaction Design". En ICAD 2022: The 27th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2022. http://dx.doi.org/10.21785/icad2022.020.
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As buildings become increasingly automated and energy efficient, the relative impact of occupants on the overall building carbon footprint is expected to increase. Research shows that by changing occupant behaviour energy savings between 5 and 15 % could be achieved. A commonly used device for energy-related behaviour change is the smart meter, a visual-based interface which provides users with data about energy consumption and emissions of their household. This paper approaches the problem from a Sonic Interaction Design point of view, with the aim of developing an alternative, sound-based design to provide feedback about some of the data usually accessed through smart meters. In this work, we experimented with sonic augmentation of a common household object, a door mat, in order to provide a non-intrusive everyday sonic interaction. The prototype that we built is an energy-aware sonic carpet that provides real-time feedback on home electricity consumption and emissions through sound. An experiment has been designed to evaluate the prototype from a user experience perspective, and to assess how users understand the chosen sonifications.
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SMORZHEVSKA, Oksana. "INCESSANT WORRY OR HAPPINESS IN UKRAINIAN". En Happiness And Contemporary Society : Conference Proceedings Volume. SPOLOM, 2021. http://dx.doi.org/10.31108/7.2021.56.
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«Incessant worry» - this phrase-meme actively «walks» on social networks and has already become part of the language of everyday life. It is usually used in a somewhat ironic sense. But at the same time, in my opinion, this irony really contains a deep understanding of «what is happiness in Ukrainian». Cordocentrism is considered one of the characteristic features of the Ukrainian mentality. And also antheism (kinship with the native land) and execution (dominance in the psyche of the «feminine principle», but is not synonymous with femininity). All these features have found their embodiment, among other things, in art. And it is precisely the «Incessant worry» that reflects the cordocentrism of the Ukrainian character, and hence the understanding of happiness in Ukrainian. In pursuit of the material components of our everyday life, we have forgotten that happiness is harmony, it is order within ourselves and the creation of a positive attitude around us. Happiness in Ukrainian is coziness, cute little things that make our life more pleasant, it is pleasure from the work that you do, it is your health and your loved ones. And then this «Incessant worry» of Cossack Mamai, a warrior-wise man, in combination with a reeled doll (motanka), acquire a modern sound in our present. It has gone through difficult centuries, tempered in the whirlwind of complex life's vicissitudes and remains national archetypes, the cores of Ukrainian spiritual culture. KEY WORDS: «Incessant worry», happiness in Ukrainian, archetype, cordocentrism, reeled doll, Cossack Mamai.