Bringing sounds into use: Thinking of sounds as materials and a sketch of auditory affordances

We live in a richly structured auditory environment. From the sounds of cars charging towards us on the street to the sounds of music filling a dancehall, sounds like these are generally seen as being instances of things we hear but can also be understood as opportunities for action. In some circumstances, the sound of a car approaching towards us can provide critical information for the avoidance of harm. In the context of a concert venue, sociocultural practices like music can equally afford coordinated activities of movement, such as dancing or music making. Despite how evident the behavioral effects of sound are in our everyday experience, they have been sparsely accounted for within the field of psychology. Instead, most theories of auditory perception have been more concerned with understanding how sounds are passively processed and represented or how they convey information of world, neglecting how this information can be used for anything. Here, we argue against these previous rationalizations, suggesting instead that information is instantiated through use and, therefore, is an emergent effect of a perceiver’s interaction with their environment. Drawing on theory from psychology, philosophy and anthropology, we contend that by thinking of sounds as materials, theorists and researchers alike can get to grips with the vast array of auditory affordances that we purposefully bring into use when interacting with the environment.

Petals of Resonance: A performance system for the transformation of small body sounds

A system of software and hardware that combines signal processing and contact microphones using normally inaudible body sounds, including heartbeat/pulse, respiration and internal sounds from the vocal tract that can be heard internally by the performer but not externally by others, to drive resonant filters. Performance at SARC Sonic Lab, Belfast, 19 Feb 2015 in collaboration with Birgit Ulher.

Language Experience Affects Grouping of Musical Instrument Sounds

Language experience clearly affects the perception of speech, but little is known about whether these differences in perception extend to non-speech sounds. In this study, we investigated rhythmic perception of non-linguistic sounds in speakers of French and German using a grouping task, in which complexity (variability in sounds, presence of pauses) was manipulated. In this task, participants grouped sequences of auditory chimeras formed from musical instruments. These chimeras mimic the complexity of speech without being speech. We found that, while showing the same overall grouping preferences, the German speakers showed stronger biases than the French speakers in grouping complex sequences. Sound variability reduced all participants' biases, resulting in the French group showing no grouping preference for the most variable sequences, though this reduction was attenuated by musical experience. In sum, this study demonstrates that linguistic experience, musical experience, and complexity affect rhythmic grouping of non-linguistic sounds and suggests that experience with acoustic cues in a meaningful context (language or music) is necessary for developing a robust grouping preference that survives acoustic variability.

Gesture interaction in music for instruments and electroacoustic sounds

Esta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.

Landscapes of the invisible: sounds, cosmologies and poetics of space

In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.

Characterisation of adventitious lung sounds in people with dementia

Introduction: Lower Respiratory Tract Infections (LRTIs) are highly prevalent in institutionalised people with dementia, constituting an important cause of morbidity and mortality. Computerised auscultation of Adventitious Lung Sounds (ALS) has shown to be objective and reliable to assess and monitor respiratory diseases, however its application in people with dementia is unknown. Aim: This study characterised ALS (crackles and wheezes) in institutionalised people with dementia. Methods: An exploratory descriptive study, including 6 long-term care institutions was conducted. The sample included a dementia group (DG) of 30 people with dementia and a match healthy group (HG) of 30 elderly people. Socio-demographic and anthropometric data, cognition, type and severity of dementia, cardio-respiratory parameters, balance, mobility and activities and participation were collected. Lung sounds were recorded with a digital stethoscope following Computerised Respiratory Sound Analysis (CORSA) guidelines. Crackles’ location, number (N), frequency (F), two-cycle duration (2CD), initial deflection width (IDW) and largest deflection width (LDW) and wheezes’ number (N), ratio (R) and frequency (F) were analysed per breathing phase. Statistical analyses were performed using PASW Statistics(v.19). Results: There were no significant differences between the two groups in relation to the mean N of crackles during inspiration and expiration in both trachea and thorax. DG trachea crackles had significant higher F during inspiration and lower IDW, 2CD and LDW during expiration when compared with HG. At the thorax, the LDW during inspiration was also significantly lower in the DG. A significant higher N of inspiratory wheezes was found in the HG. Both groups had a low ratio of high frequency wheezes. Conclusion: Computerised analyses of ALS informed on the respiratory system and function of people with dementia and elderly people. Hence, this could be the step towards prevention, early diagnosis and continuous monitoring of respiratory diseases in people with cognitive impairment.

Towards a classification scheme for musical sounds

Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA), 2013

Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists

In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

Sounds.

Diseñado para padres y cuidadores de niños en edad preescolar que buscan una forma sencilla de ayudarlos a desarrollar su aprendizaje a partir de los sonidos. También ofrece explicaciones y notas de los beneficios derivados de estas actividades.

Short vowel sounds.

Está indicado para los niños que están aprendiendo fonética. Se trata de hacer coincidir la letra de la solapa con el sonido vocal medio de la palabra, y de que aprendan a distinguir este mismo sonido pronunciando los profesores muy despacio las palabras, o mediante, la alternancia de consonante/vocal/consonante en la palabra. Los conocimientos y habilidades fónicos se pueden desarrollar con toda la clase, en grupos, o individualmente.

Initial letter sounds.

Está indicado para los niños que están empezando a aprender fonética. Se trata de hacer coincidir la letra de la solapa con el sonido que le corresponde y, de oír el sonido inicial de cada palabra. Los conocimientos y habilidades fónicos se pueden desarrollar con toda la clase, en grupos, o individualmente. También hay más actividades, así como una guía de pronunciación al final del libro.

End sounds.

Indicado para los niños que están aprendiendo fonética y ya pueden entender el sonido inicial de las palabras. Se trata de distinguir qué letra o letras de la solapa coinciden con un sonido, y,ayudar a los alumnos a que escuchen con atención los sonidos finales de cada palabra. Los conocimientos y habilidades fónicos se pueden desarrollar con toda la clase, en grupo, o individualmente.

Sounds poems.

Esta selección de poesía se ha elegido para que coincida con temas de interés para el grupo de edad: sonidos. Aunque los poemas son completamente independientes de otras historias, pueden ser introducidos junto con libros de cuentos. Destinado a escuelas infantiles, puede utilizarse para el trabajo curricular transversal, así como para la enseñanza de la lectura y el disfrute de la poesía, ritmo y rima. Desarrolla en los niños habilidades fonológicas y el conocimiento de la rima y los introduce en la poesía desde las primeras etapas de la lectura. Ofrece orientación para hablar y escuchar, con especial atención a la lectura en voz alta.

Jungle sounds.

Una pantera, un hipopótamo, un cocodrilo, un oso, un tigre y una serpiente emiten unos sonidos como feroces criaturas de la jungla provocados por pequeños animales, del tipo de: un mono, un gato, un pato, unos ratones.

Letters, sounds, and rhymes. Photocopy masters book 2 : stages 4-9.

Ayuda a desarrollar en los niños las habilidades para la lectura y la ortografía, a conocer los fonemas vocales y a distinguir entre fonema y grafema. Todo esto con el apoyo fónico de las historias, de esta misma serie, contadas para las etapas escolares de la cuatro a la seis y de la siete a la nueve. Cumple con los requisitos del plan de estudios del Reino Unido, y, en particular, con la Estrategia nacional de alfabetización (National Literacy Strategy).