Melt:for marimba and real-time sound processing

premiered by Mel Puga Iglesias

Inhabiting Sound: Tactile-sonic links in musical meaning

Connections can be suggested between music���s occupation of physical space, its relative ���presence��� (using Edward Hall���s notion of proxemics), and the various senses of movement which pervade it. Movement might be seen to operate with respect to music at a variety of levels of metaphorisation ��� as increasingly complex chains of analogy which point back to our early physical experience of the world. But of course music is, fundamentally, action. Humans put energy into systems - external or internal to themselves - which transduce that energy into the movement of air. At the acoustic level music is, emphatically and unmetaphorically, movement. Perhaps such simple physical perceptions form one route through which we might understand and explore shared senses of meaning and their capacity for ���transduction��� between multiple individuals. Our (developmentally) early sensory models of the world, built from encounters with its physical resistances and affordances, might be a route to understanding our more clearly encultured and abstracted ('higher' level) understandings of music.

Sound Art in Urban Architecture and Planning: An Introduction

This article will introduce a specially-commissioned edition of the JSS centering on articles developed from the International Symposium May 2014 by the Recomposing the City project.

Movement and Perceptual Strategies to Intercept Virtual Sound Sources

To intercept a moving object, one needs to be in the right place at the right time. In order to do this, it is necessary to pick up and use perceptual information that specifies the time to arrival of an object at an interception point. In the present study, we examined the ability to intercept a laterally moving virtual sound object by controlling the displacement of a sliding handle and tested whether and how the interaural time difference (ITD) could be the main source of perceptual information for successfully intercepting the virtual object. The results revealed that in order to accomplish the task, one might need to vary the duration of the movement, control the hand velocity and time to reach the peak velocity (speed coupling), while the adjustment of movement initiation did not facilitate performance. Furthermore, the overall performance was more successful when subjects employed a time-to-contact (tau) coupling strategy. This result shows that prospective information is available in sound for guiding goal-directed actions.

Field Testing a Full-Scale Tidal Turbine Part 3: Acoustic Characteristics

Like any new technology, tidal power converters are being assessed for potential environmental impacts. Similar to wind power, where noise emissions have led to some regulations and limitations on consented installation sites, noise emissions of these new tidal devices attract considerable attention, especially due to the possible interaction with the marine fauna. However, the effect of turbine noise cannot be assessed as a stand-alone issue, but must be investigated in the context of the natural background noise in high flow environments. Noise measurements are also believed to be a useful tool for monitoring the operating conditions and health of equipment. While underwater noise measurements are not trivial to perform, this non-intrusive mon- itoring method could prove to be very cost effective. This paper presents sound measurements performed on the SCHOTTEL Instream Turbine as part of the MaRINET testing campaign at the QUB tidal test site in Portaferry during the summer of 2014. This paper demonstrates a comparison of the turbine noise emissions with the normal background noise at the test site and presents possible applications as a monitoring system.

Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Mar�� Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in ���Living Form: Socially Engaged Art from 1991-2011��� surveys these <br/>practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake. <br/><br/>���Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.��� (Helguera, 2011)<br/><br/>Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera���s ���Aelia Media��� enabling a nomadic radio station in Bologna or Maria Andueza ���Immigrant Sounds ��� Res(on)Art (Stockholm)��� exploring ways of sonically resonating a city, or Sue MacCauley���s ���The Housing Project��� addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context. <br/>We address concepts and methodologies behind the project Som da Mar��, a participatory sonic arts project in the favelas of Mar��, Rio de Janeiro. <br/>

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on ���spatial sound��� privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an ���ontopological��� model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.