Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré 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
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.

“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)

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.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

Per-Flow State Management Technique for High-Speed Networks

Flow processing is a fundamental element of stateful traffic classification and it has been recognized as an essential factor for delivering today’s application-aware network operations and security services. The basic function within a flow processing engine is to search and maintain a flow table, create new flow entries if no entry matches and associate each entry with flow states and actions for future queries. Network state information on a per-flow basis must be managed in an efficient way to enable Ethernet frame transmissions at 40 Gbit/s (Gbps) and 100 Gbps in the near future. This paper presents a hardware solution of flow state management for implementing large-scale flow tables on popular computer memories using DDR3 SDRAMs. Working with a dedicated flow lookup table at over 90 million lookups per second, the proposed system is able to manage 512-bit state information at run time.

Mass enhances speed but diminishes turn capacity in terrestrial pursuit predators

The dynamics of predator-prey pursuit appears complex, making the development of a framework explaining predator and prey strategies problematic. We develop a model for terrestrial, cursorial predators to examine how animal mass modulates predator and prey trajectories and affects best strategies for both parties. We incorporated the maximum speed-mass relationship with an explanation of why larger animals should have greater turn radii; the forces needed to turn scale linearly with mass whereas the maximum forces an animal can exert scale to a 2/3 power law. This clarifies why in a meta-analysis, we found a preponderance of predator/prey mass ratios that minimized the turn radii of predators compared to their prey. It also explained why acceleration data from wild cheetahs pursuing different prey showed different cornering behaviour with prey type. The outcome of predator prey pursuits thus depends critically on mass effects and the ability of animals to time turns precisely.

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.

Stowaway City:Sound Walk

A 20 minute sound walk produced by Emily DeDakis, Isobel Anderson and Garrett Carr. £7000 funding award for this project came from the BBC Legacy Grants 2015. I was CI on this application.

An Ultrasonic Relaxation Study of 1-Alkyl-3-Methylmidazolium-Based Room Temperature Ionic Liquids: Probing the Role of Alkyl Chain Length in the Cation

Ultrasound absorption spectra of four 1-alkyl-3-methylimidazolium bis(trifluoromethylsulfonyl)imide were determined as a function of the alkyl chain length on the cation from 1-propyl- to 1-hexyl- from 293.15 to 323.15 K at ambient pressure. Herein, the ultrasound absorption measurements were carried out using a standard pulse technique within a frequency range from 10 to 300 MHz. Additionally the speed of sound, density and viscosity have been measured. The presence of strong dissipative processes during the ultrasound wave propagation was found experimentally, i.e. relaxation processes in the megahertz range were observed for all compounds over the whole temperature range. The relaxation spectra (both relaxation amplitude and relaxation frequency) were shown to be dependent on the alkyl side chain length of the 1-alkyl-3-methylimidazolium ring. In most cases, a single Debye model described the absorption spectra very well. However, a comparison of the determined spectra with the spectra of a few other imidazolium-based ionic liquids reported in the literature (in part recalculated in this work) shows that the complexity of the spectra increases rapidly with the elongation of the alkyl chain length on the cation. This complexity indicates that both the volume viscosity and the shear viscosity are involved in relaxation processes even in relatively low frequency ranges. As a consequence, the sound velocity dispersion is present at relatively low megahertz frequencies.

Manufacturing at double the speed

The speed of manufacturing processes today depends on a trade-off between the physical processes of production, the wider system that allows these processes to operate and the co-ordination of a supply chain in the pursuit of meeting customer needs. Could the speed of this activity be doubled? This paper explores this hypothetical question, starting with examination of a diverse set of case studies spanning the activities of manufacturing. This reveals that the constraints on increasing manufacturing speed have some common themes, and several of these are examined in more detail, to identify absolute limits to performance. The physical processes of production are constrained by factors such as machine stiffness, actuator acceleration, heat transfer and the delivery of fluids, and for each of these, a simplified model is used to analyse the gap between current and limiting performance. The wider systems of production require the co-ordination of resources and push at the limits of human biophysical and cognitive limits. Evidence about these is explored and related to current practice. Out of this discussion, five promising innovations are explored to show examples of how manufacturing speed is increasing—with line arrays of point actuators, parallel tools, tailored application of precision, hybridisation and task taxonomies. The paper addresses a broad question which could be pursued by a wider community and in greater depth, but even this first examination suggests the possibility of unanticipated innovations in current manufacturing practices.

Assessment of the impact speed and angle conditions for the EN1317 barrier tests

Roadside safety barriers designs are tested with passenger cars in Europe using standard EN1317 in which the impact angle for normal, high and very high containment level tests is 20°. In comparison to EN1317, the US standard MASH has higher impact angles for cars and pickups (25°) and different vehicle masses. Studies in Europe (RISER) and the US have shown values for the 90th percentile impact angle of 30°–34°. Thus, the limited evidence available suggests that the 20° angle applied in EN 1317 may be too low.
The first goal of this paper is to use the US NCHRP database (Project NCHRP 17–22) to assess the distribution of impact angle and collision speed in recent ROR accidents. Second, based on the findings of the statistical analysis and on analysis of impact angles and speeds in the literature, an LS-DYNA finite element analysis was carried out to evaluate the normal containment level of concrete barriers in non-standard collisions. The FE model was validated against a crash test of a portable concrete barrier carried out at the UK Transport Research Laboratory (TRL).
The accident data analysis for run-off road accidents indicates that a substantial proportion of accidents have an impact angle in excess of 20°. The baseline LS-DYNA model showed good comparison with experimental acceleration severity index (ASI) data and the parametric analysis indicates a very significant influence of impact angle on ASI. Accordingly, a review of European run-off road accidents and the configuration of EN 1317 should be performed.

Production of biodiesel from the resources endogeneous of Timor Leste

Os biocombustíveis têm estado na linha da frente das políticas energéticas mundiais visto que as suas vantagens conseguem colmatar as incertezas e resolver alguns dos problemas associados aos combustíveis fósseis. O biodiesel tem provado ser um combustível muito fiável, alternativo ao petrodiesel. É uma mistura de ésteres alquílicos produzidos a partir de óleos vegetais e gorduras animais através de uma reacção de transesterificação. Como combustível, o biodiesel é economicamente viável, socialmente responsável, tecnicamente compatível e ambientalmente amigável. O principal desafio associado ao seu desenvolvimento tem a ver com a escolha de matéria-prima para a sua produção. Nos países do terceiro mundo, óleos alimentares são mais importantes para alimentar pessoas do que fazer funcionar carros. Esta tese tem como objectivos produzir/processar biodiesel a partir de recursos endógenos de Timor-Leste e medir/prever as propriedades termodinâmicas do biodiesel, a partir das dos esteres alquílicos. A síntese do biodiesel a partir dos óleos de Aleurites moluccana, Jatropha curcas e borras de café foram aqui estudados. As propriedades termodinâmicas como densidade, viscosidade, tensão superficial, volatilidade e velocidade do som também foram medidas e estimadas usando modelos preditivos disponíveis na literatura, incluindo as equações de estado CPA e soft-SAFT. Timor-Leste é um país muito rico em recursos naturais, mas a maioria da população ainda vive na pobreza e na privação de acesso a serviços básicos e condições de vida decentes. A exploração de petróleo e gás no mar de Timor tem sido controlado pelo Fundo Petrolífero. O país ainda carece de electricidade e combustíveis que são cruciais para materializar as políticas de redução da pobreza. Como solução, o governo timorense criou recentemente o Plano Estratégico de Desenvolvimento a 20 anos cujas prioridades incluem trazer o desenvolvimento do petróleo do mar para a costa sul de Timor-Leste e desenvolver as energias renováveis. É neste último contexto que o biodiesel se insere. O seu desenvolvimento no país poderá ser uma solução para o fornecimento de electricidade, a criação de empregos e sobretudo o combate contra a pobreza e a privação. Para ser usado como combustível, no entanto, o biodiesel deve possuir propriedades termodinâmicas coerentes com as especificadas nas normas da ASTM D6751 (nos Estados Unidos) ou EN 14214 (na Europa) para garantir uma adequada ignição, atomização e combustão do biodiesel no motor.

Behavioral modeling optimization and enhancement for high-speed analog mixed-signal I/O interfaces

A integridade do sinal em sistemas digitais interligados de alta velocidade, e avaliada através da simulação de modelos físicos (de nível de transístor) é custosa de ponto vista computacional (por exemplo, em tempo de execução de CPU e armazenamento de memória), e exige a disponibilização de detalhes físicos da estrutura interna do dispositivo. Esse cenário aumenta o interesse pela alternativa de modelação comportamental que descreve as características de operação do equipamento a partir da observação dos sinais eléctrico de entrada/saída (E/S). Os interfaces de E/S em chips de memória, que mais contribuem em carga computacional, desempenham funções complexas e incluem, por isso, um elevado número de pinos. Particularmente, os buffers de saída são obrigados a distorcer os sinais devido à sua dinâmica e não linearidade. Portanto, constituem o ponto crítico nos de circuitos integrados (CI) para a garantia da transmissão confiável em comunicações digitais de alta velocidade. Neste trabalho de doutoramento, os efeitos dinâmicos não-lineares anteriormente negligenciados do buffer de saída são estudados e modulados de forma eficiente para reduzir a complexidade da modelação do tipo caixa-negra paramétrica, melhorando assim o modelo standard IBIS. Isto é conseguido seguindo a abordagem semi-física que combina as características de formulação do modelo caixa-negra, a análise dos sinais eléctricos observados na E/S e propriedades na estrutura física do buffer em condições de operação práticas. Esta abordagem leva a um processo de construção do modelo comportamental fisicamente inspirado que supera os problemas das abordagens anteriores, optimizando os recursos utilizados em diferentes etapas de geração do modelo (ou seja, caracterização, formulação, extracção e implementação) para simular o comportamento dinâmico não-linear do buffer. Em consequência, contributo mais significativo desta tese é o desenvolvimento de um novo modelo comportamental analógico de duas portas adequado à simulação em overclocking que reveste de um particular interesse nas mais recentes usos de interfaces de E/S para memória de elevadas taxas de transmissão. A eficácia e a precisão dos modelos comportamentais desenvolvidos e implementados são qualitativa e quantitativamente avaliados comparando os resultados numéricos de extracção das suas funções e de simulação transitória com o correspondente modelo de referência do estado-da-arte, IBIS.

Spatial hearing and sound perception in musical composition

This thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.

A Spiking Neural Network Model of the Medial Superior Olive using Spike Timing Dependent Plasticity for Sound Localisation

Sound localization can be defined as the ability to identify the position of an input sound source and is considered a powerful aspect of mammalian perception. For low frequency sounds, i.e., in the range 270 Hz-1.5 KHz, the mammalian auditory pathway achieves this by extracting the Interaural Time Difference between sound signals being received by the left and right ear. This processing is performed in a region of the brain known as the Medial Superior Olive (MSO). This paper presents a Spiking Neural Network (SNN) based model of the MSO. The network model is trained using the Spike Timing Dependent Plasticity learning rule using experimentally observed Head Related Transfer Function data in an adult domestic cat. The results presented demonstrate how the proposed SNN model is able to perform sound localization with an accuracy of 91.82% when an error tolerance of +/-10 degrees is used. For angular resolutions down to 2.5 degrees , it will be demonstrated how software based simulations of the model incur significant computation times. The paper thus also addresses preliminary implementation on a Field Programmable Gate Array based hardware platform to accelerate system performance.

Spiking neural network model of sound localisation using the interaural intensity difference

In this paper, a spiking neural network (SNN) architecture to simulate the sound localization ability of the mammalian auditory pathways using the interaural intensity difference cue is presented. The lateral superior olive was the inspiration for the architecture, which required the integration of an auditory periphery (cochlea) model and a model of the medial nucleus of the trapezoid body. The SNN uses leaky integrateand-fire excitatory and inhibitory spiking neurons, facilitating synapses and receptive fields. Experimentally derived headrelated transfer function (HRTF) acoustical data from adult domestic cats were employed to train and validate the localization ability of the architecture, training used the supervised learning algorithm called the remote supervision method to determine the azimuthal angles. The experimental results demonstrate that the architecture performs best when it is localizing high-frequency sound data in agreement with the biology, and also shows a high degree of robustness when the HRTF acoustical data is corrupted by noise.

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).