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john roach

Bose Global Press Room - Bose Announces Frames - A Revolutionary New Wearable - 0 views

globalpressroom.bose.com/...1965

augmented aurality augmented reality virtual reality

shared by john roach on 11 Dec 18 - No Cached
  • john roach on 11 Dec 18
     
    "Bose Frames are Bose AR compatible - the first commercial product embedded with the Bose audio augmented reality platform. Unlike other augmented reality glasses and platforms, Bose AR doesn't change what you see, or use a lens or phone camera to superimpose objects in your sightline. Instead, it knows where you are and what you're facing using a 9-axis head motion sensor and the GPS from your iOS or Android device - and automatically adds a layer of audio, connecting that place and time to endless possibilities for travel, learning, entertainment, gaming, and more. It's all accessible through the ease of listening - clear-eyed, heads-up, hands-free. And with Bose AR experiences in development, it's coming soon to Bose Frames."
josieholtzman

francisco lópez [ essays // environmental sound matter ] - 0 views

www.franciscolopez.net/env.html

acousmatic listening field recording

shared by josieholtzman on 23 Apr 13 - Cached
  • The birdsong we hear in the forest is as much a consequence of the bird as of the trees or the forest floor. If we are really listening, the topography, the degree of humidity of the air or the type of materials in the topsoil are as essential and definitory as the sound-producing animals that inhabit a certain space.
  • B. Krause to the proposal of a 'niche hypothesis' (3, 4, 5) in which different aural niches are basically defined in terms of frequency bands of the sound spectrum that are occupied by different species.
  • upon the explicit intention of expanding classical bioacoustics from an auto-ecological (single-species) to a more systemic perspective, considering assemblages of sound-producing animal species at an ecosystem level.
  • ...31 more annotations...
  • appraisal of other -sonic- components that are not reductible to the former. As soon as the call is in the air, it doesn't belong to the frog that produced it anymore.
  • No matter how good they can be, recordings cannot replace the 'real' experience.
  • Different microphones 'hear' so differently that they can be considered as a first transformational step with more dramatic consequences than, for example, a further re-equalization of the recordings in the studio. Even although we don't substract or add anything we cannot avoid having a version of what we consider as reality.
  • Although I appreciate very much the multitude of new sound nuances and the 'spaceness' provided by these technological developments, I don't have a special interest in pursuing 'realism'. Moreover, I believe these techniques actually work through hyper-realism
  • Now that we have digital recording technology (with all its concomitant sound quality improvements) we can realize more straightforwardly that the microphones are -they always have been- our basic interfaces in our attempt at aprehending the sonic world around us, and also that they are non-neutral interfaces.
  • the armchair environmental movement'
  • There is another seemingly unavoidable obstacle in this attempt at portraying aural reality: sound editing. Whereas the 'microphone interface' transfigures the spatial and material characteristics of sound, editing affects its temporality.
  • As I see it, this is a futile attempt to reproduce the world, that tends to become a kind of commodity directed to sofisticated entertainment or other forms of pragmatism. In its essence, a modern consequence of the same kind of mentality that long ago led to the creation of zoos.
  • We are much less inert for transciption and reproduction than the machines we have supposedly invented for these purposes. Compared to a microphone, we can either have a much more striking perception of such a human sonic intrusion or not perceive it at all.
  • Do we always realize that there's some distant traffic noise when our perception is focused on an insect call?
  • I don't believe in such a thing as an 'objective' aprehension of the sonic realiy
  • Not only do different people listen differently, but also the very temporality of our presence in a place is a form of editing.
  • Our idea of the sonic realiy, even our fantasy about it, is the sonic reality each one of us has.
  • I claim for the right to be 'unrealistic'
  • In the case of the 'Acoustic Ecology movement', although the scope of its activities is larger and there is a greater focus on descriptive aspects of sound itself (see, e.g., ref. 18), its approach essentially relies upon a representational / relational conception, sometimes also leading to 'encourage listeners to visit the place' (19).
  • I'm thus straightforwardly attaching to the original 'sound object' concept of P. Schaeffer and his idea of 'reduced listening'
  • The richness of this sound matter in nature is astonishing, but to appreciate it in depth we have to face the challenge of profound listening. We have to shift the focus of our attention and understanding from representation to being
  • When the representational / relational level is emphasized, sounds acquire a restricted meaning or a goal, and this inner world is dissipated.
  • Environmental acousmatics. The hidden cicada paradox Acousmatics, or the rupture of the visual cause-effect connection between the sound sources and the sounds themselves (22), can contribute significantly to the 'blindness' of profound listening. La Selva, as most tropical rain forests, constitutes a strong paradigm of something we could call 'environmental acousmatics'.
  • What I find remarkably striking is how the comprehension of virtually all approaches to nature sound recording is so rarely referred to the sonic matter they are supposedly dealing with, but rather to whatever other non-sonic elements of the experience of the -thus documented- place.
  • In my conception, the essence of sound recording is not that of documenting or representing a much richer and more significant world, but a way to focus on and access the inner world of sounds.
  • What I'm defending here is the transcendental dimension of the sound matter by itself.
  • A non-bucolic broad-band world Another widespread conception about nature sound environments regards them as 'quiet places', peaceful islands of quietude in a sea of rushing, noisy man-driven habitats.
  • As I see it, this certainly contributes to expand our aural understanding of nature, not denying quietude, but embracing a more complete conception
  • when our listening move away from any pragmatic representational 'use', and I claim for the right to do so with freedom (28).
  • I also defend the preservation and enhancement of the diversity of man-made sound environments and devices. The value we assign to sound environments is a complex issue we shouldn't simplify; under some circumstances, nature can also be considered as an intrusion in environments dominated by man-made sounds. In this sense, my approach is as futurist as it is environmentalist, or, in broader terms, independent of these categorizations.
  • I think it's a sad simplification to restrict ourselves to this traditional concept to 'find' music in nature.
  • I don't subscribe the coupling of nature to these schemes, by way of -for example- a search for melodic patterns, comparisons between animal sounds and musical instruments, or 'complementing' nature sounds with 'musical' ones (5, 25, 26). To me, a waterfall is as musical as a birdsong.
  • music is an aesthetic (in its widest sense) perception / understanding / conception of sound. It's our decision -subjective, intentional, non-universal, not necessarily permanent- what converts nature sounds into music.
  • sonic homogeneization, thus pursuing the conservation of sound diversity in the world.
  • To me, attaining this musical state requires a profound listening, an immersion into the inside of the sound matter.
john roach

Sanctuaries of Silence - 0 views

sanctuariesofsilence.com

VR gordon hempstead silence immersion immersive

shared by john roach on 29 Nov 20 - No Cached
  • john roach on 29 Nov 20
     
    "A Virtual Reality Experience by Adam Loften and Emmanuel Vaughan-Lee"
john roach

Artificial Synesthesia for Synthetic Vision via Sensory Substitution - 1 views

www.seeingwithsound.com/asynesth.htm

audio synesthesia

shared by john roach on 05 Feb 12 - Cached
  • john roach on 05 Feb 12
     
    "Artificial synesthesia (syn = together, and aisthesis = perception in Greek) is a deliberately evoked or induced sensory joining in which the real information of one sense is accompanied by a perception in another sense through the use of a cross-modal mapping device. It is also known as virtual synesthesia or synthetic synesthesia. The additional perception is regarded by the trained synesthete as real, often outside the body, instead of imagined in the mind's eye. Its reality and vividness are what makes artificial synesthesia so interesting in its violation of conventional perception. Synesthesia in general is also fascinating because logically it should have been a product of the human brain, where the evolutionary trend has been for increasing coordination, mutual consistency and perceptual robustness in the processing of different sensory inputs."
john roach

The lost sounds of Stonehenge - BBC News - 0 views

www.bbc.com/...entertainment-arts-38530755

interactive vr virtual reality anthropology

shared by john roach on 16 Jan 17 - No Cached
  • john roach on 16 Jan 17
     
    "Stonehenge is a ruin. Whatever sound it originally had 3,000 years ago has been lost but now, using technology created for video games and architects, Dr Rupert Till of the University of Huddersfield has - with the help of some ancient instruments - created a virtual sound tour of Stonehenge as it would have sounded with all the stones in place."
john roach

ECHOES - Geolocated audio tours & experiences - 0 views

echoes.xyz

mapping map gps locative audio augmented reality virtual reality

shared by john roach on 20 Sep 21 - No Cached
  • john roach on 20 Sep 21
     
    Sound mapping + spatial audio experts working with you Delight your audience with immersive experiences: use our free platform to create stereo, binaural, 3D audio and ambisonic soundwalks or get a bespoke solution"
john roach

Resonance Audio - - 0 views

resonance-audio.github.io/resonance-audio

installation immersive surround multichannel virtual reality augmented reality

shared by john roach on 03 Feb 21 - No Cached
  • john roach on 03 Feb 21
     
    "With Resonance Audio, bring dynamic spatial sound into your VR, AR, gaming, or video experiences at scale."
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