Статті в журналах: "Sonic Ecology"

1

Larsen, Gretchen. "Musical Works: Denora's Sonic Ecology." Symbolic Interaction 38, no. 4 (October 1, 2015): 638–40. http://dx.doi.org/10.1002/symb.189.

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Knight, Lauren Elizabeth. "‘Creator gave us two ears and one mouth’." Stream: Interdisciplinary Journal of Communication 13, no. 1 (November 5, 2021): 37–50. http://dx.doi.org/10.21810/strm.v13i1.297.

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Acoustic ecology has served as a foundational theoretical field for many sound scholars to understand the soundscape as a signifier for environmental crisis. While sound theorists like R. Murray Schafer and those in the World Soundscape Project have developed ways in which to critically analyze environmental soundscapes, these methods have often excluded Indigenous narratives which offer complex understandings of sound through embodied experience. In this paper I employ a brief description of acoustic ecology, drawing attention to its benefits as a methodological approach to sonic ordering, while also demonstrating the possibilities for expansion of this field when examined in conversation with Canadian Indigenous perspectives and notable sonic activist movements. I address how Indigenous knowledge systems, futurisms, art, and activism can provide critical perspectives within the field of acoustic ecology, which lends well to understanding soundscapes of crisis. I identify a few case studies of sonic forward Indigenous environmental movements which include game design by Elizabeth LaPensée, Rebecca Belmore’s Wave Sound sculpture, and the Round Dance Revolution within the Idle No More movement. In sum, this paper works to bridge the work of acoustic ecology and Indigenous sonic movements to encourage a complex and nuanced relationship to sound, and to explore moments for understanding sonic intersections at the forefront of environmental crisis.

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3

Chaves, Rui, and Thaís A. Aragão. "Localising Acoustic Ecology: A critique towards a relational collaborative paradigm." Organised Sound 26, no. 2 (August 2021): 190–200. http://dx.doi.org/10.1017/s1355771821000236.

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This article focuses on critically provincialising some of the ethico-political challenges inherent to much of the acoustic ecology vocabulary and conceptual framework. As we will demonstrate, much of the underlying limitations stem from an adherence to a particular self-transformation praxis (from the ‘New Age’ movement) alongside an overtly optimist and culturally selective outlook on how a well-informed acoustic designer would guide individuals and communities to a better sonic world. This epistemological and aesthetic outlook is presented in order to offer an alternative view on how collaborative works that deal with the sonic can take place within communities. One, where rigid hierarchies and orthodoxies are substituted by an intersubjective listening that changes all actors involved in the process. This is the framework from which we present Cildo Meireles’s Sal Sem Carne LP (1975) and Lilian Nakahodo’s sonic cartography Mapa sonoro CWB: Uma cartografia afetiva de Curitiba (2015–).

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4

Atkinson, Rowland. "Ecology of Sound: The Sonic Order of Urban Space." Urban Studies 44, no. 10 (September 2007): 1905–17. http://dx.doi.org/10.1080/00420980701471901.

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5

Mulder, Jos. "Sound Resources: Environmental Installation." Leonardo Music Journal 23 (December 2013): 18–19. http://dx.doi.org/10.1162/lmj_a_00145.

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6

Deluca, Erik. "Selling Nature to Save It: Approaching self-critical environmental sonic art." Organised Sound 23, no. 1 (January 24, 2018): 71–79. http://dx.doi.org/10.1017/s1355771817000292.

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With similarities to the emergence in fifteenth-century landscape paintings, to poems by the Transcendentalists and to the more recent 1960s land art movement, environmental sonic art is always context-based and conjointly performs as environmental activism with aims to break down the nature/culture dualism. Nature, however, is both a material object and a socially constructed metaphor that is infinitely interpretable and ideologically malleable based on one’s values and biases. Does the environmental sonic artist acknowledge this? The theoretical framework of this article extends acoustic ecology, first theorised by R. Murray Schafer, to include environmental history and cultural theory – ultimately problematising definitions of ‘nature’ and ‘natural.’ Through this framework, the author critiques the way composer John Luther Adams represents his environmental sonic art. This analysis will illuminate a dialogue that asks, ‘What is self-critical environmental sonic art?’

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7

Egan, Mark. "Book Review: Sonic Warfare: Sound, Affect, and the Ecology of Fear." Organization Studies 34, no. 10 (October 2013): 1563–65. http://dx.doi.org/10.1177/0170840613493712.

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8

van Veen, tobias c. "Sonic Warfare: Sound, Affect, and the Ecology of Fear (Steve Goodman)." Dancecult 2, no. 1 (2011): 102–6. http://dx.doi.org/10.12801/1947-5403.2011.02.01.09.

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9

Chattopadhyay, Budhaditya. "Sonic Menageries: Composing the sound of place." Organised Sound 17, no. 3 (January 11, 2012): 223–29. http://dx.doi.org/10.1017/s1355771811000422.

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This article investigates the essential association between location and sound, mediated and represented by the process of recording and the subsequent creation of an artwork. The basic argument this article would like to develop is that location-specific sound recording, as practised by artists and phonographers, is basically an exercise in disembodiment of sound from environment, whether it is observational or immersive in approach; if the purpose of this mediation by recording is artistically reconstructive, the location-specificity of the recorded sound is displaced by the further mediation of the creative process. By developing the argument from an experimental angle, in relation to an audio art projectLandscape in Metamorphoses, this article will try to examine how the discourse of acoustic ecology becomes reconfigured in the shift from environmental sound content recorded at location to production of soundscape composition as audio artwork. Today, the application of digital media to artistic practice has become integral – in the case of audio art via creation of auditory art works (for both spatial diffusion and live interaction); this can bring about a reconfiguration of environmental aesthetics. The article will find relevance in redesigning the ecological discourse in the digital realm of ‘soundscaping’ through the practice of mediation, as composing of the sound of location, or ‘place’.

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10

Rudenko, O. V., and Yu N. Makov. "Sonic Boom: From the Physics of Nonlinear Waves to Acoustic Ecology (a Review)." Acoustical Physics 67, no. 1 (January 2021): 1–25. http://dx.doi.org/10.1134/s1063771021010036.

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11

Battesti, Vincent, and Nicolas Puig. "Towards a sonic ecology of urban life: ethnography of sound perception in Cairo." Senses and Society 15, no. 2 (May 3, 2020): 170–91. http://dx.doi.org/10.1080/17458927.2020.1763606.

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12

Amorim, M. C. P., R. O. Vasconcelos, and B. Parreira. "Variability in the sonic muscles of the Lusitanian toadfish (Halobatrachus didactylus): acoustic signals may reflect individual quality." Canadian Journal of Zoology 87, no. 8 (August 2009): 718–25. http://dx.doi.org/10.1139/z09-067.

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Animal vocalizations are good examples of signals that have been shaped by sexual selection and often contribute to resolve contests or the choice of mates. We relate the mass of the sound-producing muscles of a highly vocal fish species, the Lusitanian toadfish ( Halobatrachus didactylus (Bloch and Schneider, 1801)), with the sender’s physical features, such as body size, and reproductive and body condition. In this species, both sexes are known to emit sounds during agonistic interactions and males rely on their mate attraction vocalizations to reproduce. Sonic muscles were highly variable among males (CV = 40%) and females (CV = 33%) and showed sexual dimorphism. Regression analysis showed that variability in the sonic muscles was best explained by total length and fish condition in males and females. Liver mass in both genders, and the mass of the testes accessory glands, also explained sonic muscle variability. These variables explained 96% and 91% of the sonic muscle mass variability in males and females, respectively. As in teleost fishes sonic muscle mass correlates to particular sound acoustic features, we propose that in the Lusitanian toadfish sounds can inform the receiver about the sender’s quality, such as body size and condition, which are critical information in contests and mate choice.

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13

Mucciardi, Anthony, Christoper Luley, and Kevin Gormally. "Preliminary Evidence for Using Statistical Classification of Vibration Waveforms as an Initial Decay Detection Tool." Arboriculture & Urban Forestry 37, no. 5 (September 1, 2011): 191–99. http://dx.doi.org/10.48044/jauf.2011.025.

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Arborists commonly use sounding during an initial evaluation of urban trees to determine the presence of advanced decay and hollows. Striking the trunk with a mallet produces stress waves that propagate through the wood and, in turn, generate characteristic audible sounds. Successful application of this procedure, however, requires subjective evaluation of the sonic variations that result from different wood species and densities, and various ambient noise conditions. Therefore, a statistical classification approach was developed for automatically identifying decay from stress waves captured using an accelerometer probe that is less subjective and more reproducible than an operator-in-the-loop approach. The classification algorithms were designed to detect the presence of decay from aberrant characteristics of the vibration waveform and do not rely on sonic velocity changes commonly used in most sonic testing for decay. The approach was tested in a preliminary study on 36 segmented trunk samples representing a wide range of typical urban tree species and decay types. The classifier successfully identified the decay status of 83% of the samples independent of species and trunk diameter. The results of this feasibility study cannot be transferred to real world tree inspection without additional testing on standing trees, but do demonstrate the potential of using accelerometers supplemented with a statistical classifier to support an initial assessment of decay in urban trees by an arborist.

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14

Gendron-Blais, Hubert. "Music Thinking Process: Unfolding the creation of the piece Résonances manifestes." Organised Sound 25, no. 3 (November 30, 2020): 282–91. http://dx.doi.org/10.1017/s1355771820000230.

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Beyond the social and even the human, sound opens onto the intertwining of movements animating the lived experience. A sonic epistemology considers not only that the acoustic ecologies are enunciative of social relations and power dynamics, but also that they tell about the way reality is lived, experienced, organised: they are expressive, in themselves. This means, for an epistemology of phonosophy, that every perception of a sound implies a conceptual movement, which carries a mental dimension that could become the material for another thinking practice, for a sophia. This article approaches music as thinking in itself: a thought of the sonic. This affirmation will be expanded through the contribution of process philosophy (Whitehead, Deleuze and Guattari, Manning, etc.), which allows a musical event to be considered as an ecology, produced by the encounter of a multiplicity of bodies (human, sonic, technological, etc.). The processes of capture of forces involved and the different techniques required to increase the expressive potentialities of the musical assemblage will be unfolded through the case of Résonances manifestes, a comprovised music piece based on a sound score composed of field recordings from autonomous demonstrations.

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15

Dellwik, E., J. Mann, and K. S. Larsen. "Flow tilt angles near forest edges – Part 1: Sonic anemometry." Biogeosciences 7, no. 5 (May 26, 2010): 1745–57. http://dx.doi.org/10.5194/bg-7-1745-2010.

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Abstract. An analysis of flow tilt angles from a fetch-limited beech forest site with clearings is presented in the context of vertical advection of carbon dioxide. Flow angles and vertical velocities from two sonic anemometers by different manufacturers were analyzed. Instead of using rotations, where zero-flow angles were assumed for neutral flow, the data was interpreted in relation to upstream and downstream forest edges. Uncertainties caused by flow distortion, vertical misalignment and limited sampling time (statistical uncertainty) were evaluated and found to be highly significant. Since the attack angle distribution of the wind on the sonic anemometer is a function of atmospheric stratification, an instrumental error caused by imperfect flow distortion correction is also a function of the atmospheric stratification. In addition, it is discussed that the sonic anemometers have temperature dependent off-sets. These features of the investigated sonic anemometers make them unsuitable for measuring vertical velocities over highly turbulent forested terrain. By comparing the sonic anemometer results to that of a conically scanning Doppler lidar (Dellwik et al., 2010b), sonic anemometer accuracy for measuring mean flow tilt angles was estimated to between 2° and 3°. Use of planar fit algorithms, where the mean vertical velocity is calculated as the difference between the neutral and non-neutral flow, does not solve this problem of low accuracy and is not recommended. Because of the large uncertainties caused by flow distortion and vertical alignment, it was only possible to a limited extent to relate sonic anemometer flow tilt angles to upwind forest edges, but the results by the lidar indicated that an internal boundary layer affect flow tilt angles at 21m above the forest. This is in accordance with earlier studies at the site. Since the mean flow tilt angles do not follow the terrain, an estimate of the vertical advection term for near-neutral conditions was calculated using profile measurements of carbon dioxide. The estimated advection term is large, but it is not recommended to include it in the surface carbon balance, unless all terms in the carbon dioxide conservation equation can be precisely estimated.

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16

Connaughton, M. A., M. L. Fine, and M. H. Taylor. "The effects of seasonal hypertrophy and atrophy on fiber morphology, metabolic substrate concentration and sound characteristics of the weakfish sonic muscle." Journal of Experimental Biology 200, no. 18 (September 1, 1997): 2449–57. http://dx.doi.org/10.1242/jeb.200.18.2449.

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Male weakfish Cynoscion regalis possess highly specialized, bilateral, striated sonic muscles used in sound production associated with courtship. Androgen-driven hypertrophy of the muscles during the late spring spawning period results in a tripling of sonic muscle mass followed by post-spawning atrophy. This study examined the morphological and biochemical changes underlying seasonal changes in sonic muscle mass and the functional effects of these on contraction as measured by sound production. Sonic muscle fiber cross-sectional area (CSA) increased significantly during the period of hypertrophy and then decreased by nearly 60%. Both the CSA of the contractile cylinder and that of the peripheral sarcoplasm decreased significantly by late summer, with the peripheral ring of sarcoplasm virtually disappearing. Muscle protein content followed a similar trend, suggesting a major loss of structural elements during atrophy. Muscle glycogen and lipid content decreased precipitously in early June during the period of maximal sound production. Sound pressure level increased and sound pulse duration decreased with increasing sonic muscle mass, indicating that sonic muscle fibers contract with greater force and shorter duration during the spawning season. Neither the pulse repetition rate nor the number of pulses varied seasonally or with muscle mass, suggesting that the effects of steroids on the acoustic variables are more pronounced peripherally than in the central nervous system. Seasonal sonic muscle hypertrophy, therefore, functions as a secondary sexual characteristic that maximizes vocalization amplitude during the spawning period.

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17

Nicolotti, Giovanni, and Paolo Miglietta. "Using High-Technology Instruments to Assess Defects in Trees." Arboriculture & Urban Forestry 24, no. 6 (November 1, 1998): 297–302. http://dx.doi.org/10.48044/jauf.1998.037.

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The technical features of instruments used to assess wood defects are described and opinions are expressed on their reliability, ease of use, and interpretation. The instruments include penetrometers, electrical conductivity meters, sonic and ultrasonic detectors, thermography, radar, and X-ray tomography.

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18

Mistal, Craig, Stephen Takács, and Gerhard Gries. "EVIDENCE FOR SONIC COMMUNICATION IN THE GERMAN COCKROACH (DICTYOPTERA: BLATTELLIDAE)." Canadian Entomologist 132, no. 6 (December 2000): 867–76. http://dx.doi.org/10.4039/ent132867-6.

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AbstractOur objective was to test the hypothesis that late-instar nymph, male, and (or) female German cockroaches, Blattella germanica (L.), use sonic signals for intraspecific communication. A digital-recording system was assembled that consisted of a computer equipped with data-acquisition hardware and software, microphones sensitive to sonic and ultrasonic frequencies, and speakers capable of emitting sonic and ultrasonic sound. Sound was repeatedly recorded from groups of five nymphs, five virgin males, or five virgin females. Click-type sounds were commonly present in recordings from nymphs, and consisted of sound pulses of about 10-ms duration and peak frequencies of 7, 9, 11, and 14 kHz. Similar "clicks" were found in recordings from females. In replicated binary choice arena bioassays with individual laboratory-reared insects, played-back "clicks" from nymphs or females or computer-generated artificial clicks attracted nymphs but not males or females. These results provide the first evidence that sonic signals are part of the complex B. germanica communication system.

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Connaughton, M. A., M. L. Fine, and M. H. Taylor. "Weakfish sonic muscle: influence of size, temperature and season." Journal of Experimental Biology 205, no. 15 (August 1, 2002): 2183–88. http://dx.doi.org/10.1242/jeb.205.15.2183.

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SUMMARYThe influence of temperature, size and season on the sounds produced by the sonic muscles of the weakfish Cynoscion regalis are categorized and used to formulate a hypothesis about the mechanism of sound generation by the sonic muscle and swimbladder. Sounds produced by male weakfish occur at the time and location of spawning and have been observed in courtship in captivity. Each call includes a series of 6-10 sound pulses, and each pulse expresses a damped, 2-3 cycle acoustic waveform generated by single simultaneous twitches of the bilateral sonic muscles. The sonic muscles triple in mass during the spawning season, and this hypertrophy is initiated by rising testosterone levels that trigger increases in myofibrillar and sarcoplasmic cross-sectional area of sonic muscle fibers. In response to increasing temperature, sound pressure level (SPL), dominant frequency and repetition rate increase, and pulse duration decreases. Likewise, SPL and pulse duration increase and dominant frequency decreases with fish size. Changes in acoustic parameters with fish size suggest the possibility that drumming sounds act as an `honest' signal of male fitness during courtship. These parameters also correlate with seasonally increasing sonic muscle mass. We hypothesize that sonic muscle twitch duration rather than the resonant frequency of the swimbladder determines dominant frequency. The brief (3.5 ms), rapidly decaying acoustic pulses reflect a low-Q, broadly tuned resonator, suggesting that dominant frequency is determined by the forced response of the swimbladder to sonic muscle contractions. The changing dominant frequency with temperature in fish of the same size further suggests that frequency is not determined by the natural frequency of the bladder because temperature is unlikely to affect resonance. Finally, dominant frequency correlates with pulse duration (reflecting muscle twitch duration),and the inverse of the period of the second cycle of acoustic energy approximates the recorded frequency. This paper demonstrates for the first time that the dominant frequency of a fish sound produced by a single muscle twitch is apparently determined by the velocity of the muscle twitch rather than the natural frequency of the swimbladder.

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20

Amorim, Maria Clara P., Marti L. McCracken, and Michael L. Fine. "Metabolic costs of sound production in the oyster toadfish, Opsanus tau." Canadian Journal of Zoology 80, no. 5 (May 1, 2002): 830–38. http://dx.doi.org/10.1139/z02-054.

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The energetics of mate calling has been studied in insects, frogs, birds, and mammals, but not in fishes. The oyster toadfish, Opsanus tau, produces a boatwhistle advertisement call using one of the fastest muscles known in vertebrates. Because toadfish will not boatwhistle in a respirometer, we measured oxygen consumption after eliciting sound production by electrically stimulating the sonic swim bladder muscle nerve. Induced sounds were similar to a male calling at a rapid rate. Stimulation of the sonic nerve increased the respiration rate by 4060% in males, but they became agitated. Repeating the experiment decreased agitation, and in most fish respiration rates approximated control levels by the second or third replication. Elicited sounds and therefore sonic-muscle performance were similar in all repetitions, hence it appears that the increased oxygen consumption in the first trial was caused by the fish's agitation. Controls indicated that electrode implantation and electrical stimulation of the body cavity did not affect the respiration rate. We suggest that allocation of a small amount of the total energy budget to sound production is reasonable in toadfish, and probably most other fish species, because of the small amount of time that the sonic muscles actually contract and their small size (about 1% of body mass).

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21

Monacchi, David. "Fragments of Extinction: Acoustic Biodiversity of Primary Rainforest Ecosystems." Leonardo Music Journal 23 (December 2013): 23–25. http://dx.doi.org/10.1162/lmj_a_00148.

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This paper describes the conceptual origins and development of the author's ongoing environmental sound-art project Fragments of Extinction, which explores the eco-acoustic complexity of the remaining intact equatorial forests. Crossing boundaries between bioacoustics, acoustic ecology, electroacoustic technology and music composition, the project aims to reveal the ordered structures of nature's sonic habitats, define a possible model of compositional integration and make the outcome accessible to audiences to foster awareness on the current “sixth mass extinction.”

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22

Westerkamp, Hildegard. "Linking soundscape composition and acoustic ecology." Organised Sound 7, no. 1 (April 2002): 51–56. http://dx.doi.org/10.1017/s1355771802001085.

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1. EXPLORING THE CONNECTIONThe term soundscape composition did not exist when I started composing with environmental sounds in the mid-1970s. Through a variety of fortunate circumstances and because of what the 1970s were in Vancouver and Canada - artistically inspiring and moneys were available for adventurous and culturally, socially, politically progressive projects - I had discovered that environmental sounds were the perfect compositional ‘language’ for me. I had learnt much while working with the World Soundscape Project at Simon Fraser University, about listening, about the properties of sound, about noise, the issues we face regarding the quality of the sound environment and much more. This in combination with learning to record and to work with analog technology in the sonic studio allowed me to speak with sound in a way I found irresistible. In addition, the start-up of Vancouver Co-operative Radio gave us the - at that time rare - opportunity to broadcast our work. It was a place where cultural exploration and political activism could meet. It was from within this exciting context of ecological concern for the soundscape and the availability of an alternate media outlet that my compositional work - now often called soundscape composition - emerged. And it came as a surprise to me, as I had never thought of composing nor of broadcasting as a professional choice in my life.

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23

Takacs, S., C. Mistal, and G. Gries. "Communication ecology of webbing clothes moth: attractiveness and characterization of male-produced sonic aggregation signals." Journal of Applied Entomology 127, no. 3 (April 2003): 127–33. http://dx.doi.org/10.1046/j.1439-0418.2003.00724.x.

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24

Fine, Michael L., Noelle M. Burns, and Thomas M. Harris. "Ontogeny and sexual dimorphism of sonic muscle in the oyster toadfish." Canadian Journal of Zoology 68, no. 7 (July 1, 1990): 1374–81. http://dx.doi.org/10.1139/z90-205.

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Previous work has shown that neurons in the sonic motor nucleus of the oyster toadfish, Opsanus tau, grow larger in males than in females and increase in size and number for 7–8 years. In order to correlate postnatal motoneuron development with growth of target muscle fibers, we examined the ontogeny of sonic muscle growth. Both the swim bladder and attached sonic muscles increased in size for life and were, respectively, 20 and 44% larger in males than in females. The muscle and swim bladder grew at an equivalent rate in males, whereas in females, muscle growth did not keep up with bladder growth. The number of muscle fibers increased about 16-fold (31 000 to 488 000), and mean minimum fiber diameter increased almost 3-fold (11.5 to 28.6 μm) as fish grew. Fibers were 15.3% larger in females than in males (adjusted means of 21.9 and 19.0 μm, respectively), but males had 47% more fibers per muscle (adjusted means of 307 000 and 209 000). Muscle fibers also exhibited morphological changes. Most of the fibers in two juveniles had yet to differentiate the core of sarcoplasm characteristic of sonic muscle, whereas the largest cells in mature males and females tended to have multiple pockets of sarcoplasm and a contractile cylinder split into fragments. Multiple pockets in large fibers and the presence of smaller fibers in males than females are interpreted as adaptations for increased speed and fatigue resistance.

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Carl, L. M. "Sonic Tracking of Burbot in Lake Opeongo, Ontario." Transactions of the American Fisheries Society 124, no. 1 (January 1995): 77–83. http://dx.doi.org/10.1577/1548-8659(1995)124<0077:stobil>2.3.co;2.

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Fine, Michael L., Barbara Bernard, and Thomas M. Harris. "Functional morphology of toadfish sonic muscle fibers: relationship to possible fiber division." Canadian Journal of Zoology 71, no. 11 (November 1, 1993): 2262–74. http://dx.doi.org/10.1139/z93-318.

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Sexually dimorphic sonic muscles, which vibrate the swimbladder for sound production in the oyster toadfish (Opsanus tau), are among the fastest vertebrate muscles. Previous work has shown that sonic muscle fibers are smaller in males, have an unusual morphology, and increase in number and size for life. We now report evidence consistent with the hypothesis that mature, presumably postmitotic, sonic fibers divide, and suggest that division, which returns fibers to small energy-efficient units, is necessary because mitochondria are excluded from the fiber's contractile cylinder. Large fibers, potential candidates for division, develop fragments of contractile cylinder separated by channels of an expanded sarcoplasmic reticulum; these channels can assume the appearance of the sarcoplasm (glycogen granules and mitochondria) beneath the sarcolemma. Measurements indicate that contractile cylinder diameter does not increase with fish size and that diameters are approximately 21% larger in females (p < 0.0001). Fiber fragmentation, possible division, and the presence of smaller fibers with smaller diameter contractile cylinders in males are seen as adaptations for repeated rapid contraction and fatigue resistance during production of the male's courtship boatwhistle call.

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Burcham, Daniel C., Nicholas J. Brazee, Robert E. Marra, and Brian Kane. "Can sonic tomography predict loss in load-bearing capacity for trees with internal defects? A comparison of sonic tomograms with destructive measurements." Trees 33, no. 3 (January 5, 2019): 681–95. http://dx.doi.org/10.1007/s00468-018-01808-z.

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28

Collazo, Jaime A., and Sheryan P. Epperly. "Accuracy Tests for Sonic Telemetry Studies in an Estuarine Environment." Journal of Wildlife Management 59, no. 1 (January 1995): 181. http://dx.doi.org/10.2307/3809131.

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29

Brilla, L. R., and Stefanie Hatcher. "Effect of sonic driving on maximal aerobic performance." American Journal of Human Biology 12, no. 4 (2000): 558–65. http://dx.doi.org/10.1002/1520-6300(200007/08)12:4<558::aid-ajhb15>3.0.co;2-j.

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30

Hill, Robert E., Simon J. H. Heaney, and Laura A. Lettice. "Sonic hedgehog: restricted expression and limb dysmorphologies." Journal of Anatomy 202, no. 1 (January 2003): 13–20. http://dx.doi.org/10.1046/j.1469-7580.2003.00148.x.

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Sousa-Lima, Renata S., Luane M. Ferreira, Eliziane G. Oliveira, Lara C. Lopes, Marcos R. Brito, Júlio Baumgarten, and Flávio H. Rodrigues. "What do insects, anurans, birds, and mammals have to say about soundscape indices in a tropical savanna." Journal of Ecoacoustics 2, no. 1 (February 27, 2018): 1. http://dx.doi.org/10.22261/jea.pvh6yz.

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The application of acoustic indices is incipient and still needs validation before it can reliably characterize soundscapes and monitor rapidly disappearing hot-spot areas as the Brazilian tropical savanna (Cerrado). Here we investigate which of six acoustic indices better correlate with the 24 h zoophony richness of insects, anurans, birds, and mammals. We sampled one minute every 30 minutes for seven days on three sites in Serra da Canastra National Park (Minas Gerais state, Brazil) and extracted the sonotype richness and six indices based on recordings with a bandwidth of up to 48 kHz. The Acoustic Diversity, Evenness, Entropy, and Normalized Difference Soundscape indices followed the temporal trends of the sonotype richness of insects and anurans. The Acoustic Complexity (ACI) and Bioacoustic (BIO) indices did not correlated with sonotype richness. ACI and BIO were influenced by sonic abundance and geophony. We emphasize the need to include insects and anurans on soundscape and acoustic ecology analyses and to avoid bias on avian fauna alone. We also suggest that future studies explore measures of sonic abundance and acoustic niche occupation of sonotypes to complement measures of zoophony richness and better understand what each faunal group is telling us about indices.

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32

Ross, Samuel R. P.-J., Nicholas R. Friedman, Masashi Yoshimura, Takuma Yoshida, Ian Donohue, and Evan P. Economo. "Utility of acoustic indices for ecological monitoring in complex sonic environments." Ecological Indicators 121 (February 2021): 107114. http://dx.doi.org/10.1016/j.ecolind.2020.107114.

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33

Woodrow, Charlie, Ed Baker, Thorin Jonsson, and Fernando Montealegre-Z. "Reviving the sound of a 150-year-old insect: The bioacoustics of Prophalangopsis obscura (Ensifera: Hagloidea)." PLOS ONE 17, no. 8 (August 10, 2022): e0270498. http://dx.doi.org/10.1371/journal.pone.0270498.

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Determining the acoustic ecology of extinct or rare species is challenging due to the inability to record their acoustic signals or hearing thresholds. Katydids and their relatives (Orthoptera: Ensifera) offer a model for inferring acoustic ecology of extinct and rare species, due to allometric parameters of their sound production organs. Here, the bioacoustics of the orthopteran Prophalangopsis obscura are investigated. This species is one of only eight remaining members of an ancient family with over 90 extinct species that dominated the acoustic landscape of the Jurassic. The species is known from only a single confirmed specimen–the 150-year-old holotype material housed at the London Natural History Museum. Using Laser-Doppler Vibrometry, 3D surface scanning microscopy, and known scaling relationships, it is shown that P. obscura produces a pure-tone song at a frequency of ~4.7 kHz. This frequency range is distinct but comparable to the calls of Jurassic relatives, suggesting a limitation of early acoustic signals in insects to sonic frequencies (<20 kHz). The acoustic ecology and importance of this species in understanding ensiferan evolution, is discussed.

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Ruksiriwanich, Warintorn, Chiranan Khantham, Anurak Muangsanguan, Chuda Chittasupho, Pornchai Rachtanapun, Kittisak Jantanasakulwong, Yuthana Phimolsiripol, et al. "Phytochemical Constitution, Anti-Inflammation, Anti-Androgen, and Hair Growth-Promoting Potential of Shallot (Allium ascalonicum L.) Extract." Plants 11, no. 11 (June 2, 2022): 1499. http://dx.doi.org/10.3390/plants11111499.

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In Thai folklore wisdom, shallot (Allium ascalonicum L.) was applied as a traditional herbal medicine for hair growth promotion with no scientific evidence. Androgenetic alopecia (AGA) is a progressive hair loss caused by multiple factors, including androgen hormones, inflammation, and oxidative stress. Conventional medicines (finasteride, dutasteride, corticosteroids, and minoxidil) have been used with limited therapeutic efficacy and unpleasant side effects. In this study, we aimed to give the first estimation of bioactive compounds in shallot extract and evaluate the hair growth-promoting activities regarding anti-inflammatory and gene expression modulation involving androgen, Wnt/β-catenin, sonic hedgehog, and angiogenesis pathways. The results reveal that phenolic compounds (quercetin, rosmarinic, and p-coumaric acids) are the major constituents of the methanolic shallot extract. Compared with the lipopolysaccharide-stimulated control group (2.68 ± 0.13 µM), nitric oxide production was remarkably diminished by shallot extract (0.55 ± 0.06 µM). Shallot extract improves hair growth promotion activity, as reflected by the downregulation of the androgen gene expression (SRD5A1 and SRD5A2) and the upregulation of the genes associated with Wnt/β-catenin (CTNNB1), sonic hedgehog (SHH, SMO, and GIL1), and angiogenesis (VEGF) pathways. These findings disclose the new insights of shallot extract on hair growth promotions. Shallot extract could be further developed as nutraceutical, nutricosmetic, and cosmeceutical preparations for AGA treatment.

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35

Dixon, Martin Parker. "Dwelling and the Sacralisation of the Air: A note on acousmatic music." Organised Sound 16, no. 2 (June 28, 2011): 115–19. http://dx.doi.org/10.1017/s1355771811000057.

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This paper adapts Martin Heidegger's philosophy of ‘dwelling’ in order to effect a liaison between acousmatic music and ecological concern. I propose this as an alternative to both the propagandist use of music as a means of protest and to using the science of ecology as a domain that might furnish new compositional means. I advance the interpretation that acousmatic music ‘occupies the air’ in ways that transform the meaning of that dimension. It allows the sky to be sky and the earth, earth. I use the precedent of bell ringing as an example of sonic activity that occupies the air in order to further dwelling.

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Millot, Sandie, and Eric Parmentier. "Development of the ultrastructure of sonic muscles: a kind of neoteny?" BMC Evolutionary Biology 14, no. 1 (2014): 24. http://dx.doi.org/10.1186/1471-2148-14-24.

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Brazee, Nicholas, and Robert Marra. "Incidence of Internal Decay in American Elms (Ulmus americana) Under Regular Fungicide Injection to Manage Dutch Elm Disease." Arboriculture & Urban Forestry 46, no. 1 (January 1, 2020): 1–11. http://dx.doi.org/10.48044/jauf.2020.001.

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Fungicide injection is regularly performed to prevent and manage Dutch elm disease (DED) of American elm (Ulmus americana). In an effort to better understand the effects of long-term fungicide injection on tree health, sonic tomography (SoT) and electrical-resistance tomography (ERT) were used to nondestructively determine the incidence and severity of internal decay in the lower trunk of American elms in suburban and urban settings. Overall, 253 sonic and electrical-resistance tomograms were generated from 210 American elms. Sampled trees were partitioned into two fungicide injection groups: (1) regular injection; and (2) irregular injection or no known history of injection. Among all American elms, the incidence of internal decay in the lower trunk was 30% (63/210) with a mean percent decay, as determined by SoT, of 39%. Based on Chi-square analysis, there were no significant differences in the frequency of elms with decay by injection history (P = 0.799). Mean percent decay was significantly different by dbh class (P = 0.005) and while linear regression demonstrated a positive correlation between percent decay and dbh, most of the variability went unexplained (R2 = 0.182). For elms with decay, there was a significantly higher frequency of trees in the lowest decay class (< 25% of the cross section) compared to the highest decay class (> 75% of the cross section). The results suggest that the wounding associated with regular fungicide injection does not increase the likelihood of internal decay and that American elms exhibit a low frequency and severity of internal decay.

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Swaddle, John P., Dana L. Moseley, Mark K. Hinders, and Elizabeth P. Smith. "A sonic net excludes birds from an airfield: implications for reducing bird strike and crop losses." Ecological Applications 26, no. 2 (March 2016): 339–45. http://dx.doi.org/10.1890/15-0829.

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39

Ergenzinger, Kerstin. "Nubis et Nuclei: A Study on Noise and Precision." Leonardo 52, no. 1 (February 2019): 70. http://dx.doi.org/10.1162/leon_a_01467.

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This study sets out to explore the perception of noise, as well as the relation toward meaning or information that it might contain, in arts, science and daily life. It is realized as an installation based on a suspended cloud of nitinol drums that create a sonic environment evolving in time and space. Digital random noise drives the instruments. Roaming freely and listening, visitors become part of an ecology of noise. As visitors explore differing regions in time and space, what appears to be noise can shift to a “meaningful” signal. This process of discovering a clear signal in a noisy background holds strong analogies to the scientific search for a nuclear resonance performed in the nuClock project.

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40

Grandt, Jürgen E. "The Sound of Red Dust: Jean Toomer, Marion Brown, and the Sonic Transactions of “Karintha”." Textual Cultures 13, no. 1 (April 15, 2020): 128–48. http://dx.doi.org/10.14434/textual.v13i1.30075.

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On his 1973 album Geechee Recollections, free jazzer Marion Brown tackles one of the most musical African American narratives, “Karintha” from Jean Toomer’s Cane. The velocity of sound Toomer’s text seeks to transcribe in literary form Brown trans-scribes back into music propelled by what I term Afro-kinesis. Afro-kinesis is a form of motion — a Benjaminian eddy rather than a Derridean trace — that improvises modalities of transaction with and in new-old sonic topographies, and in the process limns an aural modernity that constantly reinvents itself. This kinetic ecology of sound goes beyond acoustic transposition and instead aspires to effect a signifying exchange between the mercurial improvisation of free jazz’s “new thing” and the scripted stasis of literary text, a transaction of meaning across cultural time and physical space.

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41

Fine, Michael L., and Keith R. Pennypacker. "Histochemical Typing of Sonic Muscle from the Oyster Toadfish." Copeia 1988, no. 1 (February 5, 1988): 130. http://dx.doi.org/10.2307/1445932.

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Harris, Mark. "The Materiality of Water." Aesthetic Investigations 1, no. 1 (July 16, 2015): 120–28. http://dx.doi.org/10.58519/aesthinv.v1i1.12011.

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Recordings of water have been an important focus for composers and sound and video artists. Works by Wendy Carlos (Sonic Seasonings), Jane Grant (Fathom), Annea Lockwood (World Rhythms, A Sound Map of the Danube), Hildegard Westerkamp (Talking Rain), Frances White (Walk Through Resonant Landscape), Jana Winderen (Surface Runoff, Evaporation, Aquaculture), and video works by Véréna Paravel (Leviathan), Pipilotti Rist (Pickelporno, Supersubjektiv, Rain Woman) feature the sounds of water as prominent sonic components. Whether similar qualitatively, water sounds have also preoccupied male composers from John Cage to Chris Watson. It’s likely that there are acoustic features developed in these compositions that constitute a kind of listening that is different from what is experienced through other compositional approaches. This retrieval of frequently unmanipulated natural sounds accommodates what is offered up by one’s environment and implies an ecology of matter distinct from other experimental sound practices. Luce Irigaray’s concept of liquidity as a condition of movement and equivocation in ‘The Mechanics of Fluids’ has been cited to articulate a feminist dimension to Rist’s videos, yet what other kinds of materialities are delineated by artists having recourse to an acoustics of fluids? If characterizing these as gendered soundscapes over-essentialises the work and restricts women’s participation in sound production, what draws these respective composers to the properties of water’s materiality as these are accessed by its sound?

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Bertucci, Frédéric, Katy Maratrat, Cécile Berthe, Marc Besson, Ana Sofia Guerra, Xavier Raick, Franck Lerouvreur, David Lecchini, and Eric Parmentier. "Local sonic activity reveals potential partitioning in a coral reef fish community." Oecologia 193, no. 1 (April 13, 2020): 125–34. http://dx.doi.org/10.1007/s00442-020-04647-3.

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44

Goodyear, Jeffrey D. "A Sonic/Radio Tag for Monitoring Dive Depths and Underwater Movements of Whales." Journal of Wildlife Management 57, no. 3 (July 1993): 503. http://dx.doi.org/10.2307/3809274.

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45

Xu, Qiuping, Heather Jamniczky, Diane Hu, Rebecca M. Green, Ralph S. Marcucio, Benedikt Hallgrimsson, and Washington Mio. "Correlations Between the Morphology of Sonic Hedgehog Expression Domains and Embryonic Craniofacial Shape." Evolutionary Biology 42, no. 3 (April 22, 2015): 379–86. http://dx.doi.org/10.1007/s11692-015-9321-z.

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46

Pinheiro, Sara. "Field Recordings: A Manifesto." Prace Kulturoznawcze 26, no. 1 (July 22, 2022): 129–46. http://dx.doi.org/10.19195/0860-6668.26.1.8.

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The article focuses on the political implications of field recording (FR) in relation to sound ecology, education, art, and technology. On the one hand, it discusses how FR can protect us as a social tool in a paradoxical relationship between FR as an artistic practice and social networks that motivate alienation. On the other hand, it addresses the difference between what we perceive as sonic properties used for aesthetic purposes and what neural networks compute to create their internal structures in the process of artificial intelligence. This article adopts a preliminary approach to the above-mentioned topics while it seeks to raise questions and awareness. Drawing upon such theorists as Voegelin, Steingo and Sykes, LaBelle, and Agostinho, it adopts a pragmatic perspective on everyday life and its political implications.

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He, Hua, Meina Huang, Shenfei Sun, Yihui Wu, and Xinhua Lin. "Epithelial heparan sulfate regulates Sonic Hedgehog signaling in lung development." PLOS Genetics 13, no. 8 (August 31, 2017): e1006992. http://dx.doi.org/10.1371/journal.pgen.1006992.

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48

Rebollido-Rios, Rocio, Shyam Bandari, Christoph Wilms, Stanislav Jakuschev, Andrea Vortkamp, Kay Grobe, and Daniel Hoffmann. "Signaling Domain of Sonic Hedgehog as Cannibalistic Calcium-Regulated Zinc-Peptidase." PLoS Computational Biology 10, no. 7 (July 17, 2014): e1003707. http://dx.doi.org/10.1371/journal.pcbi.1003707.

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49

Wroblewski, J. S., Wade L. Bailey, and Kristine A. Howse. "Observations of Adult Atlantic Cod (Gadus morhua) Overwintering in Nearshore Waters of Trinity Bay, Newfoundland." Canadian Journal of Fisheries and Aquatic Sciences 51, no. 1 (January 1, 1994): 142–50. http://dx.doi.org/10.1139/f94-016.

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In the Random Island region of Trinity Bay, Newfoundland, individual adult Atlantic cod (Gadus morhua) with surgically implanted sonic transmitters were repeatedly relocated during the winter of 1990–91. Cod remained near shore, where seawater temperatures were as low as −1.5 °C. These fish did not move in the fall to offshore continental shelf waters as do most northern cod, nor did they move into the deeper waters of Trinity Bay that were slightly warmer than those in the nearshore zone. Of 12 cod released with transmitters in the fall and early winter, two were caught by local inshore fishermen the following spring, providing evidence that adult cod that overwinter nearshore become available to the spring inshore fishery. Another three were caught within a year of release. One fish was hooked in Fortune Bay on the southern coast of Newfoundland, having traveled a minimum distance of 305 nautical miles. These results demonstrate that northern cod can survive the surgical implantation of transmitters for at least a year and that this method is a valid technique for studying the behavior of northern cod. The main limitation to our sonic tracking was the relatively short range of signal reception (<1 nautical mile).

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Gilbert, Elizabeth, and E. Thomas Smiley. "Picus Sonic Tomography For The Quantification Of Decay In White Oak (Quercus Alba) And Hickory (Carya Spp.)." Arboriculture & Urban Forestry 30, no. 5 (September 1, 2004): 277–81. http://dx.doi.org/10.48044/jauf.2004.033.

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The Picus Sonic Tomograph is a noninvasive tool for assessing decay in trees. It works on the principle that sound waves passing through decay move more slowly than sound waves transversing solid wood. By sending sound waves from a number of points around a tree trunk to the same number of receiving points, the relative speed of the sound can be calculated, and a two-dimensional image of the cross-section of the tree, a tomogram, can be generated. Picus tomography and visual inspection were used to evaluate 27 cross-sections from 13 trees. The tomograms correlated closely with the visual assessment of decay. In 10 samples where no decay was present, Picus found no decay. In the remaining 17 samples, Picus detected less decay than was observed visually. Differences in most cases were small (average of 5% of total area). In terms of predicting the location of decay, on average 3% of the total area was a false positive (where the tomogram showed that decay was present but the cross-section did not), and an average of 8% of the area was false negative (the cross-section showed decay that was not seen on the tomogram).

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