Wilmington and Topsail Sound Region, North Carolina, 1865 (Raster Image)

This layer is a georeferenced raster image of the historic, paper manuscript map entitled: Map of country between the N.E. Cape-Fear River and Topsail sound, made under the direction of Capt. Wm. H. James, Chf. Engineer, by B.L. Blackford, Top. Engrs. It was drawn in 1865. Scale 1:40,000. The image inside the map neatline is georeferenced to the surface of the earth and fit to the North Carolina State Plane NAD 1983 coordinate system (in Meters) (Fipszone 3200). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, railroads, bridges, drainage, troop camps, lines of defense, selected buildings with names of landowners, mills and salt works, ground cover, swamps, and more. Relief shown by hachures. Includes also ill. of Confederate soldier with a plane table and Confederate flag, at left within margin. This layer is part of a selection of digitally scanned and georeferenced historic maps of the Civil War from the Harvard Map Collection. Many items from this selection are from a collection of maps deposited by the Military Order of the Loyal Legion of the United States Commandery of the State of Massachusetts (MOLLUS) in the Harvard Map Collection in 1938. These maps typically portray both natural and manmade features, in particular showing places of military importance. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Puget Sound, Washington, 1854 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Reconnaissance of Duwamish Bay & Seattle Harbor, Washington Ter., by the hydrographic party under the command of Lieut. James Alden, U.S.N. Assistant; redd. drng by J. R. Key; engd. by Apps. J.J. Knight & F. W. Benner. It was published by the U.S. Coast Survey in 1854. Scale 1:40,000. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Washington State Plane North Coordinate System HARN NAD83 (in Feet) (Fipszone 4601). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows coastal features such as channels, points, coves, islands, bottom soil types, flats, and more. Depths shown by soundings. Includes note. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Puget Sound and Seattle, Washington, 1889 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Seattle Harbor : Puget Sound Washington territory, issued May 1870 C.P. Patterson, superintendant; verification J.E. Hilgard, assistant in charge of the office; triangulation by J. S. Lawson assistant in 1874 based upon the primary triangulation by George Davidson, assistant in 1855-6; topography and hydrography by J.S. Lawson, assistant in 1874 & 5; resurvey of city of Seattle and water front by assist. J.J. Gilbert in 1886; additions by asst. Pratt in 1889; verifications of hydrology by Lieut. Comdr. W. H. Brownson U.S.N. inspector of hydrography. It was published by United States Coast and Geodetic Survey in July 1889. Scale 1:20,000. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Washington State Plane North Coordinate System HARN NAD83 (in Feet) (Fipszone 4601). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows coastal features such as lighthouses, rocks, channels, points, coves, islands, bottom soil types, flats, wharves, and more. Includes also selected land features such as roads, railroads, drainage, land cover, selected buildings, towns, and more. Relief shown by contours and spot heights; depths by soundings. Includes notes, tables, and list of authorities. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.

A survey of tagging techniques for music, speech and environmental sound

Sound tagging has been studied for years. Among all sound types, music, speech, and environmental sound are three hottest research areas. This survey aims to provide an overview about the state-of-the-art development in these areas.We discuss about the meaning of tagging in different sound areas at the beginning of the journey. Some examples of sound tagging applications are introduced in order to illustrate the significance of this research. Typical tagging techniques include manual, automatic, and semi-automatic approaches.After reviewing work in music, speech and environmental sound tagging, we compare them and state the research progress to date. Research gaps are identified for each research area and the common features and discriminations between three areas are discovered as well. Published datasets, tools used by researchers, and evaluation measures frequently applied in the analysis are listed. In the end, we summarise the worldwide distribution of countries dedicated to sound tagging research for years.

Residential balconies with road traffic noise : a combined source image and radiosity model

Several significant studies have been made in recent decades toward understanding road traffic noise and its effects on residential balconies. These previous studies have used a variety of techniques such as theoretical models, scale models and measurements on real balconies. The studies have considered either road traffic noise levels within the balcony space or inside an adjacent habitable room or both. Previous theoretical models have used, for example, simplified specular reflection calculations, boundary element methods (BEM), adaptations of CoRTN or the use of Sabine Theory. This paper presents an alternative theoretical model to predict the effects of road traffic noise spatially within the balcony space. The model includes a specular reflection component by calculating up to 10 orders of source images. To account for diffusion effects, a two compartment radiosity component is utilised. The first radiosity compartment is the urban street, represented as a street with building facades on either side. The second radiosity compartment is the balcony space. The model is designed to calculate the predicted road traffic noise levels within the balcony space and is capable of establishing the effect of changing street and balcony geometries. Screening attenuation algorithms are included to determine the effects of solid balcony parapets and balcony ceiling shields.

Densities, speeds of sound, isentropic compressibilities, refractive indexes, and viscosities of tetrahydrofuran with haloalkane or alkyl ethanoate at T = 303.15 K

Isentropic compressibilities ?S, excess isentropic compressibilities image, excess molar volumes VE, viscosity deviations ??, and excess Gibbs energy of activation of viscous flow ?G*E for nine binary mixtures of C4H8O with CCl4, CHCl3, CHCl2CHCl2, 1-C6H13Cl, 1-C6H13Br, CH3CO2CH3, CH3CO2C2H5, CH3CO2C4H9, and CH3CO2C5H11 at 303.15 K have been derived from experimental densities ?, speeds of sound u, refractive indexes nD and viscosities ?. The limiting values of excess partial molar volumes of C4H8O at infinite dilution image in different solvents have been estimated. The results obtained for dynamic viscosity of binary mixtures were used to test the semi-empirical relations of Grunberg–Nissan, Tamura–Kurata, Hind–McLaughlin–Ubbelohde, Katti–Chaudhri, McAllister, Heric, and Auslaender. Finally, the experimental refractive indexes were compared with the predicted results for Lorentz–Lorenz, Dale–Gladstone, Eykman, Arago–Boit, Newton, Oster, Heller, and Wiener equations.

Image-Based Spatialization

An approach to spatialization is described in which the pixels of an image determine both spatial and other attributes of individual elements in a multi-channel musical texture. The application of this technique in the author’s composition Spaced Images with Noise and Lines is discussed in detail. The relationship of this technique to existing image-to-sound mappings is discussed. The particular advantage of modifying spatial properties with image filters is considered.

The Absent Image in Electronic Music

A survey of the after-effects of recording technology on media arts, particularly in the digital age. The article covers a wide variety of sound artists, including work by the author.

Perceptual investigation of image placement with Ambisonics for non-centred listeners

Ambisonics is a scalable spatial audio technique that attempts to present a sound scene to listeners over as large an area as possi- ble. A localisation experiment was carried out to investigate the performance of a first and third order system at three listening positions - one in the centre and two off-centre. The test used a reverse target-pointer adjustment method to determine the error, both signed and absolute, for each combination of listening posi- tion and system. The signed error was used to indicate the direc- tion and magnitude of the shifts in panning angle introduced for the off-centre listening positions. The absolute error was used as a measure of the performance of the listening position and systems combinations for a comparison of their overall performance. A comparison was made between the degree of image shifting be- tween the two systems and the robustness of their off-centre per- formance.

Sound Seam

A moving image work based on research with neurologists and audiologists, collectors and archivists. The film gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. The soundtrack’s musical composition is interlaced with a voice-over which draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle. The film uses microscopic photography, scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. The voiceovers too are recorded using old sound technology as a filter - writing and over-writing of wax cylinder to create unexpected scratches, glitches, loops and echoes. Exhibitions: shown as multi-channel sound/film installation AV festival (Newcastle 2010); solo exhibition at Wellcome Collection (London 2010-11); group exhibition ‘Samsung Art+ Prize’ BFI Southbank (London 2012); group exhibition ‘Transcendence’, Gertrude Contemporary, Melbourne (2014); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton), Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle (special Q&A Aura Satz with Rebecca Shatwell, director of AV festival); Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton; Mini-retrospective at Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016). Publications: ‘Sound Seam’ booklet with contributions by Steven Connor and Tom McCarthy (2010).

Image et survivance en anthropologie visuelle : Ernesto De Martino et l’ethnographie interdisciplinaire

Ce projet analyse le rôle des images – photographies, films, dessins – produites dans le cadre des recherches ethnographiques « interdisciplinaires » menées par l’anthropologue italien Ernesto De Martino en Italie méridionale dans les années 1950. Ces expéditions ont donné lieu à des documents multiformes puisqu’elles regroupent des chercheurs de formations différentes : historien des religions, ethnomusicologue, psychiatre, photographe, et occasionnellement cinéaste. Plus spécifiquement, il s’agit d’étudier le rôle des matériaux visuels dans la recherche sur le tarentisme, rituel de possession observé dans les Pouilles en 1959 par De Martino et son équipe, matériaux dont une partie constitue l’annexe photographique de son œuvre célèbre La terra del rimorso (1961). Nous portons également attention à l’atlas iconographique de son ouvrage sur la lamentation funèbre, Morte e pianto rituale nel mondo antico. Dal lamento pagano al pianto di Maria (1958), fruit d’une étude de terrain dans la région sud italienne de la Lucania (Basilicata). Tout en considérant les relations intermédiales entre les images, le texte, le son et le corps, ce mémoire identifie les rapports dialectiques entre les techniques d’enregistrement et les logiques répétitives, rythmiques et performatives des rituels en question. Chez De Martino, l’image est point de tension en matière de temporalité et de ressemblance : elle suggère une anthropologie de la « survivance » nous permettant de relever plusieurs correspondances avec l'oeuvre de l’historien de l’art Aby Warburg.

Dance card : light : sound : space : moves : a live-performance mix-re-mix event

12 minute solo within an hour-long work, performed 18 - 22 February 2004  at the Dancehouse, Melbourne