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john roach

Sound is Not a Simulation | Linda O'Keeffe - 0 views

www.academia.edu/...Sound_is_Not_a_Simulation

sounds games sonification spatial space spatialization immersion

shared by john roach on 26 May 22 - No Cached
  • john roach on 26 May 22
     
    "In order to design a computer game soundscape that allows a game player to feel immersed in theirvirtual world, we must understand how we navigate and understand the real world soundscape. In thischapter I will explore how sound, particularly in urban spaces, is increasingly categorised as noise,ignoring both the social signicance of any soundscape and how we use sound to interpret and negotiate space. I will explore innovative methodologies for identifying an individual's perception of soundscapes. Designing virtual soundscapes without prior investigation into their cultural and social meaning could prove problematic."
john roach

Rethinking Sound - 0 views

lecture2go.uni-hamburg.de/...19459

sounds games sonification spatial space spatialization immersion

shared by john roach on 26 May 22 - No Cached
  • john roach on 26 May 22
     
    With the advent of Digital Humanities methodologies the visualization of Humanities data has become more and more prominent. However, once the "wow-effect" of a "cool" visualization - such as a pie-chart, a word cloud, a diagram etc. - has worn off many Humanists begin to react with scepticism: is it worth the trouble? Doesn"t a "word say more than thousand pictures"? Their scepticism seems justified: Most of the current visualization paradigms are derived from engineering and mathematics oriented applications. Most of them are context blind, a-historical and driven by an epistemology that reduces complex phenomena to a series of "data points" - which is exactly the opposite of how Humanists tend to look at their field of interest. - In this lecture series international visualization experts will explore new, philosophically and cultural history informed approaches to Humanities data visualization that respond to the Humanities" needs.
john roach

Helping visually impaired children through audio - An interview with Monica Gori from ABBI - 0 views

designingsound.org/...iew-with-monica-gori-from-abbi

blind blindness accessibility

shared by john roach on 02 Mar 17 - No Cached
  • john roach on 02 Mar 17
     
    "Acknowledging a lack of solutions to help visually impaired children to apprehend their movements and surroundings, a team lead by IIT-researcher Monica Gori created the ABBI project. Built with young children in mind, this bracelet is generating audio based on body movement and spatial localisation and, therefore, helping them interacting with other and their surroundings."
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."
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

COMPENDIUM translation missing: en, title_lquot Sound Art translation missing: en, titl... - 0 views

www.see-this-sound.at/...40

audio sound art

shared by john roach on 05 Feb 12 - No Cached
  • john roach on 05 Feb 12
     
    "Sound art encompasses cross-border art practices in which the acoustic element governs the recepient's overall perception as well as the structure of a given work. The visual sphere and the spatial dimension represent the most important references to sound. The most decisive factor differentiating sound art from music is the breaking up of linearity and of limited temporal duration."
john roach

Spatial Dialogues - 0 views

spatialdialogues.net

urban sustainability ecology video climate change

shared by john roach on 04 Feb 12 - No Cached
  • john roach on 04 Feb 12
     
    This project explores how innovative art projects on public urban screens can combine with electronic social network systems on smaller screens to initiate an international dialogue on the problem of adaptation to climate change. The main theme of this trans-disciplinary research is on the environmental and cultural significance of water in three cities in the Asia- Pacific region: Melbourne, Shanghai and Tokyo
john roach

'Xenon Wind' from 'Camera Lucida' (LINE_030) by Evelina Domnitch + Dmitry Gelfand on Vimeo - 0 views

vimeo.com/77450287

ultrasound installation sound art video

shared by john roach on 27 Feb 15 - No Cached
  • john roach on 27 Feb 15
     
    Camera Lucida is a highly introspective immersive spatial art work creating a fleeting ephemeral materiality by intersecting ultrasound with hyperlight… in essence the creation of a sonic aurora. Domnitch and Gelfand's piece rejects any possibility to be fixed in space and time, but rather offers up the very definition of an unstable work of art, existing entirely for and within the perceptive realm of the viewer." - Stephen Kovats, Director of Transmediale 2008"
john roach

If the US-Mexico Border Could Talk - 0 views

hyperallergic.com/...he-us-mexico-border-could-talk

border immersive spatial politics multichannel

shared by john roach on 16 Jun 25 - No Cached
  • john roach on 16 Jun 25
     
    "Echoes from the Borderlands, which transcribes a sound installation tracing the border, insists on the land's inextricability from the history to which it bears witness. "
  • john roach on 16 Jun 25
     
    "Echoes from the Borderlands, which transcribes a sound installation tracing the border, insists on the land's inextricability from the history to which it bears witness. "
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