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The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new acoustic meanings.
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Choi, Jeongeun. "Making Sound Art Sound: Contemporary Sound Art in the Post-Medium Condition." Journal of the Science and Practice of Music 47 (April 30, 2022): 151–93. http://dx.doi.org/10.36944/jspm.2022.04.47.151.
This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combine theories from several fields. Aspects of sound art studies, performance studies and contemporary art studies are presented in order to theoretically explore the very diverse dimensions of the two sound art pieces. Visual, auditory, performative, social, spatial and durational dimensions become integrated within the analysis in our pursuit of the most comprehensive interpretation of the pieces possible.
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Fryberger, Annelies. "Sounds Unheard: Reading a Sound Art Exhibition Catalog." Curator: The Museum Journal 62, no. 3 (July 2019): 415–23. http://dx.doi.org/10.1111/cura.12332.
Gagne, Randy. "Sound Containers: Recent Sound Art in Toronto." Senses and Society 4, no. 1 (March 2009): 111–16. http://dx.doi.org/10.2752/174589309x388609.
Dunn, Alan. "The sound of a sound art archive." Journal of Writing in Creative Practice 7, no. 3 (September 1, 2014): 459–70. http://dx.doi.org/10.1386/jwcp.7.3.459_1.
Schwartz, Arman. "Musicology, Modernism, Sound Art." Journal of the Royal Musical Association 139, no. 1 (2014): 197–200. http://dx.doi.org/10.1017/s0269040300013372.
This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.
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Waller, Steven J. "Sound and rock art." Nature 363, no. 6429 (June 1993): 501. http://dx.doi.org/10.1038/363501a0.
Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
Thesis (Ph. D.)--University of California, San Diego, 2008. Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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Davies, Shaun, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "Sound art and the annihilation of sound." THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.
This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis Master of Arts (Hons)
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Davies, Shaun. "Sound art and the annihilation of sound." Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/402.
This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
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Davies, Shaun. "Sound art and the annihilation of sound /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.141711/index.html.
Milano, Omar. "It's a Wonderful Business: The Art of Production Sound." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.
It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sacrifices sound crews have endured to succeed in the always challenging, but very exciting, world of film making.
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Taylor, Jonathan Milo. "ImMApp : an immersive database of sound art." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5644/.
The ImMApp (Immersive Mapping Application) thesis addresses contemporary and historical sound art from a position informed by, on one hand, post-structural critical theory, and on the other, a practice-based exploration of contemporary digital technologies (MySQL, XML, XSLT, X3D). It proposes a critical ontological schema derived from Michel Foucault's Archaeology of Knowledge (1972) and applies this to pre-existing information resources dealing with sound art. Firstly an analysis of print-based discourses (Sound by Artists. Lander and Lexier (1990), Noise, Water, Meat. Kahn (2001) and Background Noise: Perspectives on Sound Art. LaBelle (2006)) is carried out according to Foucauldian notions of genealogy, subject positions, the statement, institutional affordances and the productive nature of discursive formation. The discursive field (the archive) presented by these major canonical texts is then contrasted with a formulation derived from Giles Deleuze and Felix Guattari: that of a 'minor' history of sound art practices. This is then extended by media theory (McLuhan, Kittler, Manovich) into a critique of two digital sound art resources (The Australian Sound Design Project (Bandt and Paine (2005) and soundtoys.net Stanza (1998)). The divergences between the two forms of information technologies (print vs. digital) are discussed. The means by which such digitised methodologies may enhance Foucauldian discourse analysis points onwards towards the two practice-based elements of the thesis. Surface, the first iterative part, is a web-browser based database built on an Apache/MySQIlXML architecture. It is the most extensive mapping of sound art undertaken to date and extends the theoretical framework discussed above into the digital domain. Immersion, the second part, is a re-presentation of this material in an immersive digital environment, following the transformation of the source material via XSL-T into X3D. Immersion is a real-time, large format video, surround sound (5.ln.l) installation and the thesis concludes with a discussion of how this outcome has articulated Foucauldian archaeological method and unframed pre-existing notions of the nature of sound art.
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Gilmurray, Jonathan. "Ecology and environmentalism in contemporary sound art." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.
In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of 'ecological sound art' will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.
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Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.
Thesis (D.M.A.)--University of North Texas, 2006. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
Nathanson, Alex. "Sound Art." In A History of Solar Power Art and Design, 118–36. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-6.
Holmes, Thom. "Conservation and Documentation of Sound Art." In Sound Art, 112–20. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-12.
Takashi, Ikegami, Oka Mizuki, Maruyama Norihiro, Watanabe Yu, and Matsumoto Akihiko. "Sensing the sound web." In SIGGRAPH Asia 2012 Art Gallery. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2413076.2413084.
Richards, John D. "Speculative Sound Circuits." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.33.
Fehr, Jonas, and Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.
Felician, Rosca. "ORGAN MUSICAL ART AND ITS ELEARNING DIMENSION." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-304.
One of the most dynamic musical instruments in terms of electronic dimension is concerned and practical possibility to apply in eLearning systems is classical organ. The dynamics of this development started in the 1960s when, for the first time the classical organ in its jazz format was invented in America and then in Europe. Today. building electronic (digital) organs from transistor and lamps with sound generators organs to digital organ has become widely spread. Digital organs have reached extraordinary professional performances in which the sound diversity and natural sounds are copied and rendered with great fidelity. Famous makes from Europe and America have started to develop independent intonation and sound application systems. All these aspects as well as the practical applications in which acoustic research could be involved by applying digital systems that exist in Romanian research to organ music are likely to open new horizons for the application of research (and learning) to the field of electro-sound that could be naturally followed by the introduction of eLearning systems in musical education. Starting from this development principles in digital systems of classical organs, there are multiple learning variants through eLearning system.This is very effective, especcialy for disabled persons. The learning system can be eassily addapted to different methods, for example the situation in wich the teacher is fallowing from distance the student, or the situation of direct hearing memorization. All this things are possible because of the digital organ's abbilities to reproduce very easily musical scores, that can be memorised by persons with visual disabilities. Another interactiv system can be developed by using the research on sound, till the dimension in wich it resemples most with natural sound. Here interfeers the acoustic research. It is well known that visual disabled persons have superior hearing abbilities. They can distinguish different sonorities and qualities of the sounds. A basic research in this domain with qualified personnel and researchers speccialized in vizual dissabled persons is possible and can be applied in Romania.
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Borucka, Justyna. "ART OF SPACE � ART IN SPACE, THE ROLE OF SOUND ART IN PUBLIC SPACE." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s15.033.
Beller, Greg. "Sound space and spatial sampler." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791010.
Chen, Xiaojie, Yuanchun Shi, and Zhiyong Fu. "Echo Wall: A Sound-driven Media-art." In 2007 2nd International Conference on Pervasive Computing and Applications. IEEE, 2007. http://dx.doi.org/10.1109/icpca.2007.4365447.
Osmond, Joe. "Abstract Animation and the Art of Sound." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.61.
Lacey, Jordan. "Zoë , Sonic Relationality and Posthuman Urban Sound Art." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.2.
OKeefe, Linda. "Sound Art and New Media: An Alternate History." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/soundartandnewmedia.
Ryder, Marianne. Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1096.
Carlson, Thomas J. Use of Sound for Fish Protection at Power Facilities : A Historical Perspective of the State of the Art : Phase 1 Final Report. Office of Scientific and Technical Information (OSTI), November 1994. http://dx.doi.org/10.2172/924146.
In 2015, the Natural Sounds and Night Skies Division (NSNSD) received a request to collect baseline acoustical data at Mesa Verde National Park (MEVE). Between July and August 2015, as well as February and March 2016, three acoustical monitoring systems were deployed throughout the park, however one site (MEVE002) stopped recording after a couple days during the summer due to wildlife interference. The goal of the study was to establish a baseline soundscape inventory of backcountry and frontcountry sites within the park. This inventory will be used to establish indicators and thresholds of soundscape quality that will support the park and NSNSD in developing a comprehensive approach to protecting the acoustic environment through soundscape management planning. Additionally, results of this study will help the park identify major sources of noise within the park, as well as provide a baseline understanding of the acoustical environment as a whole for use in potential future comparative studies. In this deployment, sound pressure level (SPL) was measured continuously every second by a calibrated sound level meter. Other equipment included an anemometer to collect wind speed and a digital audio recorder collecting continuous recordings to document sound sources. In this document, “sound pressure level” refers to broadband (12.5 Hz–20 kHz), A-weighted, 1-second time averaged sound level (LAeq, 1s), and hereafter referred to as “sound level.” Sound levels are measured on a logarithmic scale relative to the reference sound pressure for atmospheric sources, 20 μPa. The logarithmic scale is a useful way to express the wide range of sound pressures perceived by the human ear. Sound levels are reported in decibels (dB). A-weighting is applied to sound levels in order to account for the response of the human ear (Harris, 1998). To approximate human hearing sensitivity, A-weighting discounts sounds below 1 kHz and above 6 kHz. Trained technicians calculated time audible metrics after monitoring was complete. See Methods section for protocol details, equipment specifications, and metric calculations. Median existing (LA50) and natural ambient (LAnat) metrics are also reported for daytime (7:00–19:00) and nighttime (19:00–7:00). Prominent noise sources at the two backcountry sites (MEVE001 and MEVE002) included vehicles and aircraft, while building and vehicle predominated at the frontcountry site (MEVE003). Table 1 displays time audible values for each of these noise sources during the monitoring period, as well as ambient sound levels. In determining the current conditions of an acoustical environment, it is informative to examine how often sound levels exceed certain values. Table 2 reports the percent of time that measured levels at the three monitoring locations were above four key values.
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Valdes, James R., and Heather Furey. WHOI 260Hz Sound Source - Tuning and Assembly. Woods Hole Oceanographic Institution, April 2021. http://dx.doi.org/10.1575/1912/27173.
Sound sources are designed to provide subsea tracking and re‐location of RAFOS floats and other Lagrangian drifters listening at 260Hz. More recently sweeps have been added to support FishChip tracking at 262Hz. These sources must be tuned to the water properties where they are to be deployed as they have a fairly narrow bandwidth. The high‐Q resonator’s bandwidth is about 4Hz. This report documents the tuning, and provides an overview of the sound source assembly.
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Sedore, P., A. Normandeau, V. Maselli, and K. Regular. Bathymetry of Pangnirtung Fiord, Cumberland Sound, Nunavut. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329614.
This map depicts the multibeam bathymetry data acquired in September 2019 onboard the R/V Nuliajuk in Pangnirtung Fiord, Cumberland Sound. The mapped area extends from the head of the fiord, where the Weasel River drains the surrounding highlands, to Cumberland Sound. The Hamlet of Pangnirtung rests on the SE shore of Pangnirtung Fiord. Glacial landforms and modern sediment processes are identified throughout the fiord using sub-bottom profiles and multibeam bathymetry.
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Pettit, Chris, and D. Wilson. A physics-informed neural network for sound propagation in the atmospheric boundary layer. Engineer Research and Development Center (U.S.), June 2021. http://dx.doi.org/10.21079/11681/41034.
We describe what we believe is the first effort to develop a physics-informed neural network (PINN) to predict sound propagation through the atmospheric boundary layer. PINN is a recent innovation in the application of deep learning to simulate physics. The motivation is to combine the strengths of data-driven models and physics models, thereby producing a regularized surrogate model using less data than a purely data-driven model. In a PINN, the data-driven loss function is augmented with penalty terms for deviations from the underlying physics, e.g., a governing equation or a boundary condition. Training data are obtained from Crank-Nicholson solutions of the parabolic equation with homogeneous ground impedance and Monin-Obukhov similarity theory for the effective sound speed in the moving atmosphere. Training data are random samples from an ensemble of solutions for combinations of parameters governing the impedance and the effective sound speed. PINN output is processed to produce realizations of transmission loss that look much like the Crank-Nicholson solutions. We describe the framework for implementing PINN for outdoor sound, and we outline practical matters related to network architecture, the size of the training set, the physics-informed loss function, and challenge of managing the spatial complexity of the complex pressure.
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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.
Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.
Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
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Kerr, D. E. Reconnaissance surficial geology, Arctic Sound, Nunavut, NTS 76-N. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/321440.
The Arctic Sound map area consists primarily of glacially scoured bedrock, minor till in the southwest, and postglacial marine sediments in coastal lowlands and inland along river valleys. The till deposits are cut to bedrock by subglacial meltwater corridors defined by eskers and other glaciofluvial sediments. Glacial lakes occupied the James River valley where retreating or stagnant ice blocked drainage to the east. Glaciolacustrine deltas record falling lake levels, from 310 m to 290 m and 260 m elevation. Striations and streamlined landforms indicate ice flow to the north-northwest, and later crosscutting relationships recording minor variations locally. Orientation of minor moraines, eskers, and outwash plains suggest ice recession was primarily southeastward. A series of small glaciomarine deltas following a northwest-southeast trend, and postglacial marine deltas and fine-grained sediments, reach elevations of 210 m in the northwest and 200 m in the southeast. Isostatic rebound caused marine regression, forming raised beaches from 210 m elevation to current sea level.
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Kamrath, Matthew, Vladimir Ostashev, D. Wilson, Michael White, Carl Hart, and Anthony Finn. Vertical and slanted sound propagation in the near-ground atmosphere : amplitude and phase fluctuations. Engineer Research and Development Center (U.S.), May 2021. http://dx.doi.org/10.21079/11681/40680.
Sound propagation along vertical and slanted paths through the near-ground atmosphere impacts detection and localization of low-altitude sound sources, such as small unmanned aerial vehicles, from ground-based microphone arrays. This article experimentally investigates the amplitude and phase fluctuations of acoustic signals propagating along such paths. The experiment involved nine microphones on three horizontal booms mounted at different heights to a 135-m meteorological tower at the National Wind Technology Center (Boulder, CO). A ground-based loudspeaker was placed at the base of the tower for vertical propagation or 56m from the base of the tower for slanted propagation. Phasor scatterplots qualitatively characterize the amplitude and phase fluctuations of the received signals during different meteorological regimes. The measurements are also compared to a theory describing the log-amplitude and phase variances based on the spectrum of shear and buoyancy driven turbulence near the ground. Generally, the theory correctly predicts the measured log-amplitude variances, which are affected primarily by small-scale, isotropic turbulent eddies. However, the theory overpredicts the measured phase variances, which are affected primarily by large-scale, anisotropic, buoyantly driven eddies. Ground blocking of these large eddies likely explains the overprediction.
