The Bruce collection of Eskimo material culture from Kotzebue Sound, Alaska / James W. VanStone.

n.s. no.1(1980)

Historic pottery of the Kotzebue Sound Iänupiat / Charles V. Lucier, James W. VanStone.

n.s. no.18(1992)

Traditional beluga drives of the Iñupiat of Kotzebue Sound, Alaska / Charles V. Lucier, James W. VanStone.

n.s. no.25(1995)

Birds of the Kotzebue Sound region, Alaska /

Bibliography: p. 66-69.

Spotted Seals, Phoca largha, in Alaska

The worldwide literature on management of spotted seals, Phoca largha, was reviewed and updated, and aerial surveys weref lown in 1992 and 1993 to determine the species' distribution and abundance in U.S. waters. In April, spotted seals were found only in the Bering Sea ice front. In June, they were seen along deteriorating ice floes and fast ice in Norton Sound. Surveys along most of Alaska's western coast in August and September found over 2,500 spotted seals in Kuskokwim Bay and concentrations of 100-400 seals around Nunivak Island, Scammon Bay, Golovnin Bay/Norton Sound, Cape Espenberg/Kotzebue Sound, and Kasegaluk Lagoon. All of these sites have been used by spotted seals in the past. The sum of the highest counts, irrespective of year, was 3,570 seals (CV =0.06). This is not an abundance estimate for all spotted seals in the Bering Sea, because it does not account for animals in the water, and we did not survey the Asian coast and some islands. Also, spotted seals and harbor seals, Phoca vitulina, are too similar in appearance to be identified accurately from the air, so our results probably include a mix of these species where their ranges overlap.

Ringed and bearded seal densities in the eastern Chukchi Sea, 1999–2000

Aerial surveys were conducted in 1999 and 2000 to estimate the densities of ringed (Phoca hispida) and bearded (Erignathus barbatus) seals in the eastern Chukchi Sea. Survey lines were focused mainly on the coastal zone within 37 km of the shoreline, with additional lines flown 148–185 km offshore to assess how densities of seals changed as a function of distance from shore. Satellite-linked time-depth recorders were attached to ringed seals in both years to evaluate the time spent basking on the ice surface. Haulout patterns indicated that ringed seals transitioned to basking behavior in late May and early June, and that the largest proportion of seals (60–68%) was hauled out between 0830 and 1530 local solar time. Ringed seals were relatively common in nearshore fast ice and pack ice, with lower densities in offshore pack ice. The average density of ringed seals was 1.91 seals km-2 in 1999 (range 0.37– 16.32) and 1.62 seals km-2 in 2000 (range 0.42–19.4), with the highest densities of ringed seals found in coastal waters south of Kivalina and near Kotzebue Sound. The estimated abundance of ringed seals for the entire study area was similar in 1999 (252,488 seals, SE=47,204) and 2000 (208,857 seals, SE=25,502). Bearded seals were generally more common in offshore pack ice, with the exception of high bearded seal numbers observed near the shore south of Kivalina. Bearded seal densities were not adjusted for haulout behavior, and therefore, abundance was not estimated. Unadjusted average bearded seal density was 0.07 seals km-2 in 1999 (range 0.011–0.393) and 0.14 seals km-2 in 2000 (range 0.009– 0.652). Levels of primary productivity, benthic biomass, and fast ice distribution may influence the distributions of ringed and bearded seals in the Chukchi Sea. Information on movement and haulout behavior of ringed and bearded seals would be very useful for designing future surveys.

Sound radiation characteristics of a box-type structure

The finite element and boundary element methods are employed in this study to investigate the sound radiation characteristics of a box-type structure. It has been shown [T.R. Lin, J. Pan, Vibration characteristics of a box-type structure, Journal of Vibration and Acoustics, Transactions of ASME 131 (2009) 031004-1–031004-9] that modes of natural vibration of a box-type structure can be classified into six groups according to the symmetry properties of the three panel pairs forming the box. In this paper, we demonstrate that such properties also reveal information about sound radiation effectiveness of each group of modes. The changes of radiation efficiencies and directivity patterns with the wavenumber ratio (the ratio between the acoustic and the plate bending wavenumbers) are examined for typical modes from each group. Similar characteristics of modal radiation efficiencies between a box structure and a corresponding simply supported panel are observed. The change of sound radiation patterns as a function of the wavenumber ratio is also illustrated. It is found that the sound radiation directivity of each box mode can be correlated to that of elementary sound sources (monopole, dipole, etc.) at frequencies well below the critical frequency of the plates of the box. The sound radiation pattern on the box surface also closely related to the vibration amplitude distribution of the box structure at frequencies above the critical frequency. In the medium frequency range, the radiated sound field is dominated by the edge vibration pattern of the box. The radiation efficiency of all box modes reaches a peak at frequencies above the critical frequency, and gradually approaches unity at higher frequencies.

Beyond the sound barrier

Freeway barriers used to be just great slabs of concrete that lined the road to tr and protect nearby residents from the constant rumble of the traffic. But in recent years, their visual appeal has become as important as their practical purpose with architects and designers clamouring to show off their ideas to the vast traveling public. Melbourne's Craigieburn Bypass is the latest to be recognised for its dual appeal winning the Urban Design Award at the recent Victorian Architecture Awards.

Aural auteur : sound in the films of Rolf de Heer

An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism. As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.

Predictions of angle dependent tortuosity and elasticity effects on sound propagation in cancellous bone

The anisotropic pore structure and elasticity of cancellous bone cause wave speeds and attenuation in cancellous bone to vary with angle. Previously published predictions of the variation in wave speed with angle are reviewed. Predictions that allow tortuosity to be angle dependent but assume isotropic elasticity compare well with available data on wave speeds at large angles but less well for small angles near the normal to the trabeculae. Claims for predictions that only include angle-dependence in elasticity are found to be misleading. Audio-frequency data obtained at audio-frequencies in air-filled bone replicas are used to derive an empirical expression for the angle-and porosity-dependence of tortuosity. Predictions that allow for either angle dependent tortuosity or angle dependent elasticity or both are compared with existing data for all angles and porosities.

Soundcipher : a music and sound library for processing

SoundCipher is a software library written in the Java language that adds important music and sound features to the Processing environment that is widely used by media artists and otherwise has an orientation toward computational graphics. This article introduces the SoundCipher library and its features, describes its influences and design intentions, and positions it within the field of computer music programming tools. SoundCipher enables the rich history of algorithmic music techniques to be accessible within one of today’s most popular media art platforms. It also provides an accessible means for learning to create algorithmic music and sound programs.

Sound in the Aboriginal Australian Films of Rolf de Heer

Anna Hickey-Mody and Melissa Iocca invented a new name for the cinema-goer at "Bad Boy Bubby" (1993) when they wrote: "In de Heer's film, the viewer is primarily a listener, or aurator, and secondly a spectator" and I have argued the label 'aurator' can also be used for the person experiencing "Ten Canoes" (2006). This Aboriginal Australian Dreamtime fable features dialogue recorded entirely in the Ganalbingu language of the Indigenous people it stars, and is a prime example of what I would suggest can be labeled 'The Aboriginal Australian Films of Rolf de Heer'. "The Tracker" (2002) and "Dr. Plonk" (2007) have also included depictions of Aboriginal Australians and each of the trio utilizes Cat Hope's "innovative sound ideas" to present what I argue is an aural auteur's signature revealing a post-colonial Australian world-view that privileges the justice system and eco-spirituality of Aboriginal Australians.

An interview with sound artist Guy Webster by Jillian Hamilton and Jeremy Yuille

Guy Webster is a sound artist who has been featured in numerous festivals, galleries, conferences and theatres in Australia, Japan, UK and Europe. As part of the Transmute Collective he developed the immersive soundscape of Intimate Transactions. On 2nd November, 2005 Jilliann Hamilton and Jeremy Yuille met with Guy Webster to discuss his approach to immersion in soundsapes.