Journal articles on the topic 'Airplanes Airport noise'

This study aims to measure exposure to aircraft noise levels in the Babullah Airport area of Ternate. Data collection in this study is observation (observation), which aims to obtain preliminary data relating to the problems studied, besides that data collection also uses noise level measurements carried out at the 0 meter point from the runway to 500 meters at 5 points. The results of the research show that the activities of airplanes at Babullah Ternate Airport began to experience an increase, as indicated by the type of airlines that competed in serving flights at national and domestic levels.Domestic and national flight activities, airplanes at Babullah Ternate Airport greatly affect the environment. The results of this study indicate that the kebanganangan level in the airport area reaches an average of 78.8 db (A) with other environmental parameters such as wind speed and air humidity 12.6 m / s and 81.23%. If the size of the environmental parameters no longer affect noise exposure, the area has noise that exceeds the threshold. To reduce the noise level due to the flight activities at Babullah Ternate Airport, a barrier is needed as well as socializing the danger of noise for humans.

Aircraft noise is the chief source of the airport and its peripheral areas. CCAR imposes restriction on specific categories of aircraft and requires more strict measurements of the noise. More scientific measurement method is required to meet the progressively tighter certification standards. Test noise procedures for transport category and turbojet airplanes are analyzed in this paper. The main aspects involved are: test sit requirements, aircraft flight path guidance, aircraft position determination, take off tests, lateral tests and approach tests.

Background: The increase of aircraft activities that causes the increase of noise intensity which were suffered by residents around Adi Sucipto airport, especially housewives. Objective: Aimed of the research to know the effect of noise on housewives living near Adi Sucipto airport Yogyakarta, in Jagalan Hamlet, Tegaltirto village, Berbah Sleman district. Method: This is a quantitative descriptive research with a cross sectional approach. This research involved by 32 housewives who live in Jagalan Hamlet, Tegaltirto village, Berbah Sleman district. Results: The results of noise measurement when a plane passing by, show as followed: The result of Lsm (night and day) measurement at point 1 showed 50.02 dB, at point 2 showed 50.05 dB. Noise intensity of a passing airplane during 6 seconds showed between 94 dB to 100 dB. Respon of housewives showed that 32 respondents (100%) disturbed when they were communicating, 26 respondents (81.3%) suffered of stress, 6 respondents (18.8%) did not stressed. Conclusion: Thirty (93.8%) respondents experienced sleep problem, 2 respondents (6.3%) did not. The noise level caused by passing airplanes in Jagalan hamlet during 6 seconds reaches 94 dB up to 100 dB, the results of Lsm measurement at point 1 50.02 dB and point 2 showed 50.05 dB. Communication disturbance were suffered by 32 respondents, stress were suffered by 26 respondents and sleeping problem were suffered by 30 respondents.

The goal of this study was to characterize transportation noise by vehicle class in two urban communities, to inform studies of transport noise and ultra-fine particulates. Data were collected from April to September 2016 (150 days) of continuous recording in each urban community using high-resolution microphones. Training data was created for airplanes, trucks/buses, and train events by manual listening and extraction of audio files. Digital signal processing using STFT and Hanning windowing was performed in MATLAB, creating audio spectrograms with varying frequency: log vs linear frequency scales, and 4K vs 20K max frequency. For each of the four spectrogram sets, a neural net model using PyTorch was trained via a compute cluster. Initial results for a multi-class model provide an accuracy of 85%. Comparison between a selection of frequency scales and expanding to longer time periods is ongoing. Validation with airport transport logs and local bus and train schedules will be presented.

According to aircraft manufacturers and several air transportation players, the main challenge the civil aviation will have to deal with in the future is to provide a sustainable growth strategy, in order to face the growing demand of air traffic all over the world. The sustainability requirements are related to air pollution, noise impact, airport congestion, competitiveness of the air transportation systems in terms of travel time and passengers' comfort. Among the possible ways to allow a sustainable growth of the air transportation systems, disruptive aircraft configurations have been object of study for several years, in order to demonstrate that the improvement of aircraft performance can enable the envisaged growth. This paper presents the study of a possible novel configuration called “PrandtlPlane,” having a box-wing layout derived from Prandtl's “Best Wing System” concept. The paper deals with the definition of top level requirements and faces the conceptual study of the overall configuration, focusing on fuselage sizing as well as on the aerodynamic design of the box-wing system. This latter is designed through an optimization-driven strategy, carried out by means of a low-fidelity aerodynamic tool, which simulates the flow condition in the subsonic range and introduces corrections to take the transonic effects into account. Design procedures and tools are presented, showing preliminary results related to a PrandtlPlane compliant with ICAO Aerodrome Reference Code “C” standard, such as Airbus A320 and Boeing 737, whose wingspan is limited to 36 m. Activities and results here shown are part of the first phase of the research project “PARSIFAL” (Prandtlplane ARchitecture for the Sustainable Improvement of Future AirpLanes), funded by the European Commission under the Horizon 2020 Program, which aims to demonstrate that the PrandtlPlane configuration can improve aircraft payload capability, keeping their dimensions compatible with present airport infrastructures.

El propósito de la investigación se basó en la evaluación del impacto acústico causado por el tráfico aéreo de las aerolíneas de los vuelos comerciales que operan en el Aeropuerto Capitán FAP Guillermo Concha Iberico, ubicado en el Distrito de Castilla, Piura, Perú. La investigación consistió en analizar: (a) Los niveles de contaminación de ruido y (b) los efectos negativos que produce en la salud y calidad de vida de la población que habita en la cercanía del mismo y se delimitó en el Distrito de Castilla, en función a lo establecido por el D.S. N° 085-2003-PCM del Reglamento de Estándares Nacionales de Calidad Ambiental para Ruido (ECA’s), el cual regula los límites máximos permisibles de sonido; bajo un modelamiento de las zonas de tránsito de los aviones a la hora de aterrizaje y despegue, el cual entregó como resultado un mapa de contornos de ruido. De esta manera, fue posible identificar aquellas áreas afectadas por las ondas sonoras, producto del funcionamiento del aeropuerto. El modelo se realizó con la recopilación de información a través de datos in situ en lugares que abarcan la zona de desplazamiento de las aeronaves y el tiempo de evaluación fue el periodo de cinco meses comprendido entre octubre, noviembre y diciembre del 2017 y enero y febrero del 2018. The purpose of the research was based on the evaluation of the acoustic impact caused by the air traffic of the airlines of the commercial flights operating at the Capitán FAP Guillermo Concha Iberico Airport, located in the District of Castilla, Piura, Peru. The investigation consisted in analyzing: (a) the levels of noise pollution and (b) the negative effects it has on the health and quality of life of the population living in the vicinity of it and was delimited in the District of Castilla, according to the provisions of the DS N ° 085-2003-PCM of the Regulation of National Standards of Environmental Quality for Noise (ECA's), which regulates the maximum permissible limits of sound; under a modeling of the zones of transit of the airplanes at the time of landing and takeoff, which gave as a result a map of noise contours. In this way, it was possible to identify those areas affected by the sound waves, as a result of the operation of the airport. The model was made with the collection of information through on-site data in places that cover the area of ​​displacement of aircraft and the time of evaluation was the five-month period between October, November and December 2017 and January and February of 2018.

Objectives: Airports in the U.S. have gradually been transitioning to automated flight systems. These systems generate new flight paths over populated areas. While they can improve flight efficiency, the increased noise associated with these novel flight patterns potentially pose serious health threats to the overflown communities. In this case study, we estimated the monetary benefits relative to health losses associated with one significant change in flight patterns at LaGuardia Airport, year-round use of “TNNIS Climb”, which happened in 2012 as a result of flight automation in New York City. Prior to that, the use of the TNNIS Climb was limited to the U.S. Open tennis matches. Methods: We developed a decision-analytic model using Markov health states to compare the costs and quality-adjusted life years (QALYs) gained associated with the limited use of TNNIS (old status quo) and the year-round use of TNNIS (current status quo). The TNNIS Climb increases airplane noise to above 60 decibels (dB) over some of the most densely populated areas of the city. We used this increased exposure to noise as the basis for estimating ground-level health using data from sound monitors. The total costs (including both direct and indirect costs), QALYs, and the incremental cost-effectiveness ratio (ICER) were estimated for the limited versus the year-round use of the TNNIS Climb. Results: The incremental lifetime costs and QALYs per person exposed to noise associated with the limited versus the year-round use of TNNIS was $11,288, and 1.13, respectively. Therefore, the limited use of TNNIS had an ICER of $10,006/QALY gained relative to the year-round of TNNIS. Our analyses were robust to changes in assumptions and data inputs. Conclusions: Despite increases in efficiency, flight automation systems without a careful assessment of noise might generate flight paths over densely populated areas and cause serious health conditions for the overflown communities.

Noise is the common problem in the residential area, whether it came from events, vehicles, construction sites, or urban area. The most affected residential area are usually the ones which adjacent to the highway or a road. When someone is overexposed from the noise, this could lead into many health problems. This is why a noise barrier is essential to be built along the road. problems regarding the noise barrier is that although the barrier can attenuates the noise from the traffic, there are other sound source, or in this case, noise source other than the traffic such as the airplane. This problem mostly happened on the residential ground around an airport. One of the solutions for these problems is by using vegetation as additional noise barriers. By doubling the barrier (noise barrier - vegetation) the attenuations will probably much higher, in accounts that the vegetation is much higher than the barrier so that if there are multiple floor buildings, the floors above will also provide with noise insulations. Although, it would be more appropriate to use acoustic treatments to the buildings. The other solution is that by using the concept of constructing a louver or cap atop the wall that is directed back toward the noise source. This concept follows the theory that such a design should inhibit shadow zone diffraction filling in sound behind the noise barrier. Keywords: noise, sound, barrier, attenuation

At 1606:22, Clipper 759 informed the tower that it was ready for takeoff. At 1606:24, the local controller cleared the flight for takeoff, and at 1606:30, the first officer acknowledged the clearance. The acknowledgement was the last radio transmission received from Clipper 759. On July 8, 1982, Pan American World Airways Flight 759 (Clipper 759), a Boeing 727-235, N4737, was a regularly scheduled passenger flight from Miami, Florida, to Las Vegas, Nevada, with an en route stop at New Orleans, Louisiana. About 1607:57 central daylight time, Clipper 759, with 7 crewmembers, 1 nonrevenue passenger on the cockpit jumpseat, and 137 passengers on board, began its takeoff from runway 10 at the New Orleans International Airport, Kenner, Louisiana. At the time of flight 759’s takeoff, there were showers over the east end of the airport and to the east end of the airport along the airplane’s intended takeoff path. The winds at the time were gusty, variable, and swirling. Clipper 759 lifted off the runway, climbed to an altitude of between 95 feet to about 150 feet above the ground, and then began to descend. At 1608:57, the Ground Proximity Warning System (GPWS) activated and “Whoop whoop pull up whoop. . . .” was recorded. The airplane struck a line of trees about 2,376 feet beyond the departure end of runway 10 at an altitude of about 50 feet above the ground. The airplane continued on an eastward track for another 2,234 feet hitting trees and houses and then crashed into a residential area about 4,100 feet from the end of the runway. The airplane was destroyed during the impact, explosion, and subsequent ground fire. One hundred forty-five persons on board the airplane and eight persons on the ground were killed in the crash. Six houses were destroyed; five houses were damaged substantially.1,2 Moreover, nine people on the ground suffered severe injuries. The aircraft hit the ground with a considerable left bank angle, firstly hitting an oak tree with the left wing, cutting the power and the telephone lines mounted on poles, then destroying the houses of the Schultz family, the neighboring house, and a few others, and eventually cartwheeled and broke into pieces. Kerosene spilled from the ruptured tanks and ignited although there was a thunderstorm with heavy rain; three members of the Schultz family staying in their house were badly burned, one of them died in hospital. Among those killed on the ground—actually the first victim along the swathe of destruction caused by the crashing/impacting aircraft—was Jennifer Schultz, then eleven years of age, who was in the carport (perhaps was talking on the telephone, sitting on a swing there as she used to do) when disaster struck. On March 11th, 2008, in Bartlesville, Oklahoma, a girl, Rylann, was born to the O’Bannion family. Rylann appeared to be developing earlier than usual, but she showed some curious habits, e.g., for some time she kept sleepwalking. She started complaining that her hair touching her back hurt her back; she drew dramatic fits about putting on shirts. The clothing, she would complain, hurt her back, neck, and shoulders—it felt like her skin was burning. Referring to a photograph she mentioned time and again, she had been “bigger” than on that picture, a statement that didn’t make sense to her mother at that point in time. Eventually, at the age of three years and five months, again touching the topic of having been “bigger” before, she said: “Mommy, I died. I was in our backyard. It was raining. I was alone but I wasn’t scared. Then the rain shocked me. It was raining a lot. There was a loud noise, then the rain shocked me. I floated up to the sky then.” As the O’Bannion family subscribed to the Catholic faith, reincarnation was not a subject to consider. Over time, Rylann added new bits of memory; at the age of five she started talking about what happened to her “in heaven” after her death (meeting God and Jesus, and ‘Grandy Sally’ whom she never had met in reality), and that “you can choose to come back if you died before you were supposed to.” Once, out of the blue, she said “I remember the name of Jennifer.”

The airport of Sultan Syarif Kasim II Pekanbaru is the only one airport located in Pekanbaru city, Riau province and it is the media of air transportation that operates airplane. Sound intensity of plane could create the noisy that effect to psychological disturbance, physical disturbance and communicative disturbance. According to firmness of the head of ministry LH No.48/MENLH/11/1996 about standard quality of noisy level for environmental activities around school is 55 dBA. The objective of this study was to measure sound intensity at state vocational high school integrated agriculture Pekanbaru located at noisy area using Sound level meter digital and in order to find out its effect to the level of students’ auditory using Gurputala. On the results of research the intensity of sound obtained each day since Monday to Saturday was on average 69.46 dBA and the higher intensity was 93.1 dBA. And the results of inspection using garputala with 10 female students that for Rinne test 100% normal, but for Weber test 50% the students faced lateralization on right ear. And then for Schwbach the auditory of female students decreases. Thus, the attention of people and government is needed to overcome this problem, one of the ways is planting many trees at school environment and simple air proof in classroom. To obtain the score of auditory step it needs furthermore study using Audiometry to measure auditory step.

In 1946 Indiana U. purchased an electron microscope sight unseen for $600, deciding it was an EM. on the basis of weight. Seeing Dr. Fischer's ad far an assistant, I wondered what an E.M, was. I dashed upstairs to find his office. Having come directly from the airport where I was a pilot. I was dirty and needed a shave. I planned to come back when I had cleaned up. I put my nose against the door to read his small handwriting and office hours. Out he came. We hung together nose to nose as he asked, “Did you want something?” “Poor time to tell you no,” I responded. I got the job in spite of my appearance because, as he told me, I knew photography, could learn the panel on an airplane and wasn't afraid of work. We put the microscope together and it ran! We set up a summer lab course, but he asked me to teach it when he got a sabbatical.

Indiana U. purchased an electron microscope sight unseen for $600, deciding it was an E.M. on the basis of weight. Seeing Dr. Fischer's ad for an assistant, I wondered what an E.M. was. I dashed upstairs to find his office. Having come directly from the airport where I was a pilot, I was dirty and needed a shave. I planned to come back when I had cleaned up. I put my nose against the door to read his small handwriting and office hours. Out he came. We hung together nose to nose as he asked, “Did you want something?” “Poor time to tell you no,” I responded. I got the job in spite of my appearance because, as he told me, I knew photography, could learn the panel on an airplane and wasn't afraid of work. We put the microscope together and it ran ! We set up a summer lab course, but he asked me to teach it when he got a sabbatical. Having signed up, I gave myself an A. I was starting at the top. I felt there was a great future if we could just learn to cut sections. The chairman warned me not to make it my career as it was only one instrument, could go away and I wouldn't be able to make a living at it. To show him, I quit with my Master's Degree and took a job at the U. of Il. Med. School. I learned to cut sections with a tongue depressor (published) and designed an ultramicrotome (published). He was right. At $300/month, I could barely eat hamburger, but I was showing him.

<p><strong>Abstract.</strong> With the increase of sonic life in digital spaces, new platforms for the exhibition of sound are emerging; from multisensory web interfaces, open access databases, apps for playing with sound, to experimental locative and geo-located pieces. From iPods, mobile phones, and noise cancelling headphones, new technological tools are constantly remediating how we listen and relate to the sonic spaces around us. The collaboration between digital humanities, sound studies, locative media and cartography holds many possibilities for challenging silent and text-centric cultures of communication into rich multi-sensory experiences that accommodate diverse knowledges and abilities. By thinking through new modes for staging cultural memory and presenting ephemera like sound, digital mapping tools can facilitate alternative forms of sensory relationships to the social and physical spaces around us.</p><p><i>Tempelhofer: Human Scale</i> is a web-based and locative sound mapping project based in Berlin’s Tempelhofer Feld. What was once an airport, military base, and monument of Nazi Germany, the grounds have only recently been transformed into a public park, recreation area, and event space; a blank slate for human potential. On the north side, a Shaolin Temple lies just opposite a mini golf course made up of 18 interactive sculptures designed by local artists. DIY garden communities make up another corner. Recreational activities such as cycling, Segway clubs, and kite flying roam in and around the empty airport runways. A “grillplatz” barbeque area accommodates hundreds of families and youth, emitting thick clouds of smoke that mirror, in a historical juxtaposition, the airplane exhaust of a once operating airport. Bearing the aroma of a new Berlin, Tempelhofer Feld now embodies a melting pot of different foods, activities, and cultures coming into sensory contact. In the shadows of the massive airport structure lies a refugee camp, producing complex questions around heritage, conservation, and the politics of public space.</p><p>Tempelhofer Feld is a space that is highly politicized with its own contentious history and questions of preservation. Originally designed as a cornerstone for Hitler’s “world capital,” the airport sought to “crystalize claims of racial supremacy and world domination through architecture” (Parsloe 2017). Locating a refugee camp on this site not only creates complex associations between past and present but it also illuminates the tensions around living conditions on a site upheld by many strict heritage and conservation bylaws. Tempelhofer Feld is Europe’s largest protected historical monument, meaning complex tensions around preservation/conservation and development/change are consistently playing out. To explore these tensions, my project utilizes mapping technologies to trace how new emerging ephemeral activities are interacting with place, along with its complex politics, preserved history, and cultural memory. These ephemeral activities emerging out of the public spaces of the park produce fascinating tensions between the vital idealism of Berlin’s present and the turbulent history of its recent past. Recycled and reactive spaces like Tempelhofer Feld display the complex tensions between the re-adaptive and ephemeral nature of the park against its permanent state of preservation and commemoration of history. It underscores how charged public spaces in the city can be: “how should Berliners remember the past in a way that will most intelligently inform how they will move forward into the future?” (Malamud 2013).</p><p>The series of sound recordings focus on the quiet, intimate, and ephemeral scale of human activity – from walking, jogging, barbequing, lounging, kite-flying, socializing, gardening. These different sound activities are placed as destinations on a map that can be explored on a web interface as well as through geo-located points when walking through the park. To recreate the locative experience of the park on the web interface, sound clips are set against photographs of the different landscapes of the airport; expansive, barren, and sometimes empty of human activity. The intimacy of these sounds set against the open landscapes is meant to invert a space originally designed for technical infrastructure, transportation, and nationalist domination – a scale in which the individual human body often becomes erased. The question of scale is central to these explorations: how can sound on the intimate human scale be used to invert the scale of a massive airport/urban park? How does sound, with its embodied/sensory functions, invert questions around remote sensing that goes into mapping satellite imagery? What aspects of human sensory experience are erased or go unnoticed through remote, vision-based satellite and mapping technologies?</p><p>Soundscapes embody the complex relationship between human and environment in a complex system of information exchange. To the World Soundscape Project, soundwalking is a method for deep listening and participation in our everyday soundscapes: it involves “not simply a passive monitoring, but an active mental and physical participation in the ongoing composition forever being created” (Truax 1974, 38). This idea that the soundscape is not only something we passively listen to but something we also actively engage in and contribute to is central to the interactivity of this project. Sound can be activated through the user’s touch (on the web, through the mouse and in person, through their location). Different sound nodes can be activated simultaneously, building up a more complex and layered soundscape. By interacting with these different sounds, the user can acoustically design and recompose the soundscape around them, contributing to a greater sense of spatial and aural awareness.</p><p>The ephemeral nature of these activities/happenings is also emphasized through sound’s own elusive materiality, intangibility, and ephemerality. How the temporal and ephemerality of sound can be used as an archival tool to map out the contingent and ephemeral nature of memory is an essential question to this project. In Mark Smith’s theorization of sonic geographies, he states, “if we listen to it, the landscape is not so much a static topography that can be mapped and drawn, [but] a fluid and changing surface that transforms as it is enveloped by different sounds” (Bull and Back 2016, 11). The sonic geography of Tempelhofer Feld therefore represents its transformative and constantly evolving surface. While urban spaces (and its associated cartographic technologies) have dominantly been understood as visual spectacles, sound mapping foregrounds the vital role that sound plays in understanding the everyday cultural, political, and physical spaces around us.</p>

Radar technology at several airports is still using flightradar24 as a source of information, and building an ADS-B station is expensive. However, the flightradar24 has several weaknesses, among which is that if the user wants to display more information, the user is required to pay periodically or subscriptions, and there is delay due to the process of data that requires the Internet connection. With a concept of receiver ads-b based RTL-SDR R820T2, a low cost receiver ads-b with the results can receive an ads-b signal without delay and can receive data from an airplane. But there is a weakness in rtl-b receivers based RTL-SDR R820T2, because it doesn't explain and can't know how far the receiver can receive signals and target parameters data from the aircraft. Thus on this research a receiver ads-b using RTL-SDR R820T2, with a low-noise amplification and an ads-b antenna 1090 MHZ in the hopes of knowing how far the aircraft's target range is from the receiver and knowing how far the receiver's range of data signals the target parameters. By performing some step-by-step testing of the design. The designed receiver ads-b USES low noise amplification with an ads-b antenna 1090 MHZ capable of receiving data and target parameters ads-b for 284 km on adsbSCOP software range and 287.63 km mathematically.

0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidity of mobilized publics in the go-go world of commercial aviation.In this photo essay I'd like to pull a different thread and ask whether it's possible to think of aeromobility in terms of “uneven, differential mobility” (Bissell 280). What would it mean to consider waiting and stillness as forms of bodily engagement operating over a number of different scales and temporalities of movement and anticipation, without privileging speed over stillness? Instead of thinking mobility and stillness as diametrically opposed, can we instead conceive of them as occupying a number of different spatio-temporal registers in a dynamic range of mobility? The following is a provisional "visual ethnography" constructed from photographs of air terminal light boxes I have taken over the last five years (in Amsterdam, London, Chicago, Frankfurt, and Miami). Arranged into a "taxonomy of differentiality", each of these images comes from a slightly different angle, mode or directionality. Each view of these still images displayed in billboard-scale light-emitting devices suggests that there are multiple dimensions of visuality and bodily experience at play in these image-objects. The airport is characterized by an abundance of what appears to be empty space. This may be due to the sheer scale of mass transport, but it also arises from a system of active and non-active zones located throughout contemporary terminals. This photo series emphasises the "emptiness" of these overlooked left-over spaces that result from demands of circulation and construction.1. We Move the WorldTo many travellers, airport gate lounges and their surrounding facilities are loaded with a variety of contradictory associations and affects. Their open warehouse banality and hard industrial sterility tune our bodies to the vast technical and commercial systems that are imbricated through almost every aspect of contemporary everyday life.Here at the departure gate the traveller's body comes to a moment's rest. They are granted a short respite from the anxious routines of check in, body scans, security, information processing, passport scanning, itineraries, boarding procedures and wayfaring the terminal. The landside processing system deposits them at this penultimate point before final propulsion into the invisible airways that pipe them into their destination. We hear the broadcasting of boarding times, check-in times, name's of people that break them away from stillness, forcing people to move, to re-arrange themselves, or to hurry up. Along the way the passenger encounters a variety of techno-spatial experiences that sit at odds with the overriding discourse of velocity, speed and efficiency that lie at the centre of our social understanding of air travel. The airline's phantasmagorical projections of itself as guarantor and enabler of mass mobilities coincides uncomfortably with the passenger's own wish-fulfilment of escape and freedom.In this we can agree with the designer Bruce Mau when he suggests that these projection systems, comprised of "openings of every sort — in schedules, in urban space, on clothes, in events, on objects, in sightlines — are all inscribed with the logic of the market” (Mau 7). The advertising slogans and images everywhere communicate the dual concept that the aviation industry can deliver the world to us on time while simultaneously porting us to any part of the world still willing to accept Diners, VISA or American Express. At each point along the way these openings exhort us to stop, to wait in line, to sit still or to be patient. The weird geographies depicted by the light boxes appear like interpenetrating holes in space and time. These travel portals are strangely still, and only activated by the impending promise of movement.Be still and relax. Your destination is on its way. 2. Attentive AttentionAlongside the panoramic widescreen windows that frame the choreography of the tarmac and flight paths outside, appear luminous advertising light boxes. Snapped tightly to grid and locked into strategic sightlines and thoroughfares, these wall pieces are filled with a rotating menu of contemporary airport haiku and ersatz Swiss graphic design.Mechanically conditioned air pumped out of massive tubes creates the atmosphere for a very particular amalgam of daylight, tungsten, and fluorescent light waves. Low-oxygen-emitting indoor plants are no match for the diesel-powered plant rooms that maintain the constant flow of air to every nook and cranny of this massive processing machine. As Rem Koolhaas puts it, "air conditioning has launched the endless building. If architecture separates buildings, air conditioning unites them" (Koolhaas). In Koolhaas's lingo, these are complex "junkspaces" unifying, colliding and coalescing a number of different circulatory systems, temporalities and mobilities.Gillian Fuller reminds us there is a lot of stopping and going and stopping in the global circulatory system typified by air-terminal-space.From the packing of clothes in fixed containers to strapping your belt – tight and low – stillness and all its requisite activities, technologies and behaviours are fundamental to the ‘flow’ architectures that organize the motion of the globalizing multitudes of today (Fuller, "Store" 63). It is precisely this functional stillness organised around the protocols of store and forward that typifies digital systems, the packet switching of network cultures and the junkspace of airports alike.In these zones of transparency where everything is on view, the illuminated windows so proudly brought to us by J C Decaux flash forward to some idealized moment in the future. In this anticipatory moment, the passenger's every fantasy of in-flight service is attended to. The ultimate in attentiveness (think dimmed lights, soft pillows and comfy blankets), this still image is captured from an improbable future suspended behind the plywood and steel seating available in the moment —more reminiscent of park benches in public parks than the silver-service imagined for the discerning traveller.3. We Know ChicagoSelf-motion is itself a demonstration against the earth-binding weight of gravity. If we climb or fly, our defiance is greater (Appleyard 180).The commercial universe of phones, cameras, computer network software, financial instruments, and an array of fancy new gadgets floating in the middle of semi-forgotten transit spaces constitutes a singular interconnected commercial organism. The immense singularity of these claims to knowledge and power loom solemnly before us asserting their rights in the Esperanto of "exclusive rollover minutes", "nationwide long distance", "no roaming charges" and insider local knowledge. The connective tissue that joins one part of the terminal to a commercial centre in downtown Chicago is peeled away, revealing techno-veins and tendrils reaching to the sky. It's a graphic view that offers none of the spectacular openness and flights of fancy associated with the transit lounges located on the departure piers and satellites. Along these circulatory ribbons we experience the still photography and the designer's arrangement of type to attract the eye and lure the body. The blobby diagonals of the telco's logo blend seamlessly with the skyscraper's ribbons of steel, structural exoskeleton and wireless telecommunication cloud.In this plastinated anatomy, the various layers of commercially available techno-space stretch out before the traveller. Here we have no access to the two-way vistas made possible by the gigantic transparent tube structures of the contemporary air terminal. Waiting within the less travelled zones of the circulatory system we find ourselves suspended within the animating system itself. In these arteries and capillaries the flow is spread out and comes close to a halt in the figure of the graphic logo. We know Chicago is connected to us.In the digital logic of packet switching and network effects, there is no reason to privilege the go over the stop, the moving over the waiting. These light box portals do not mirror our bodies, almost at a complete standstill now. Instead they echo the commercial product world that they seek to transfuse us into. What emerges is a new kind of relational aesthetics that speaks to the complex corporeal, temporal, and architectural dimensions of stillness and movement in transit zones: like "a game, whose forms, patterns and functions develop and evolve according to periods and social contexts” (Bourriaud 11). 4. Machine in the CaféIs there a possible line of investigation suggested by the fact that sound waves become visible on the fuselage of jet planes just before they break the sound barrier? Does this suggest that the various human senses are translatable one into the other at various intensities (McLuhan 180)?Here, the technological imaginary contrasts itself with the techno alfresco dining area enclosed safely behind plate glass. Inside the cafes and bars, the best businesses in the world roll out their biggest guns to demonstrate the power, speed and scale of their network coverage (Remmele). The glass windows and light boxes "have the power to arrest a crowd around a commodity, corralling them in chic bars overlooking the runway as they wait for their call, but also guiding them where to go next" (Fuller, "Welcome" 164). The big bulbous plane sits plump in its hangar — no sound barriers broken here. It reassures us that our vehicle is somewhere there in the network, resting at its STOP before its GO. Peeking through the glass wall and sharing a meal with us, this interpenetrative transparency simultaneously joins and separates two planar dimensions — machinic perfection on one hand, organic growth and death on the other (Rowe and Slutsky; Fuller, "Welcome").Bruce Mau is typical in suggesting that the commanding problem of the twentieth century was speed, represented by the infamous image of a US Navy Hornet fighter breaking the sound barrier in a puff of smoke and cloud. It has worked its way into every aspect of the design experience, manufacturing, computation and transport.But speed masks more than it reveals. The most pressing problem facing designers and citizens alike is growth — from the unsustainable logic of infinite growth in GDP to the relentless application of Moore's Law to the digital networks and devices that define contemporary society in the first world. The shift of emphasis from speed to growth as a time-based event with breaking points and moments of rupture has generated new possibilities. "Growth is nonlinear and unpredictable ... Few of us are ready to admit that growth is constantly shadowed by its constitutive opposite, that is equal partners with death” (Mau 497).If speed in part represents a flight from death (Virilio), growth invokes its biological necessity. In his classic study of the persistence of the pastoral imagination in technological America, The Machine in the Garden, Leo Marx charted the urge to idealize rural environments at the advent of an urban industrialised America. The very idea of "the flight from the city" can be understood as a response to the onslaught of technological society and it's deathly shadow. Against the murderous capacity of technological society stood the pastoral ideal, "incorporated in a powerful metaphor of contradiction — a way of ordering meaning and value that clarifies our situation today" (Marx 4). 5. Windows at 35,000 FeetIf waiting and stillness are active forms of bodily engagement, we need to consider the different layers of motion and anticipation embedded in the apprehension of these luminous black-box windows. In The Virtual Window, Anne Friedberg notes that the Old Norse derivation of the word window “emphasizes the etymological root of the eye, open to the wind. The window aperture provides ventilation for the eye” (103).The virtual windows we are considering here evoke notions of view and shelter, open air and sealed protection, both separation from and connection to the outside. These windows to nowhere allow two distinct visual/spatial dimensions to interface, immediately making the visual field more complex and fragmented. Always simultaneously operating on at least two distinct fields, windows-within-windows provide a specialized mode of spatial and temporal navigation. As Gyorgy Kepes suggested in the 1940s, the transparency of windows "implies more than an optical characteristic; it implies a broader spatial order. Transparency means a simultaneous perception of different spatial locations" (Kepes 77).The first windows in the world were openings in walls, without glass and designed to allow air and light to fill the architectural structure. Shutters were fitted to control air flow, moderate light and to enclose the space completely. It was not until the emergence of glass technologies (especially in Holland, home of plate glass for the display of commercial products) that shielding and protection also allowed for unhindered views (by way of transparent glass). This gives rise to the thesis that windows are part of a longstanding architectural/technological system that moderates the dual functions of transparency and separation. With windows, multi-dimensional planes and temporalities can exist in the same time and space — hence a singular point of experience is layered with many other dimensions. Transparency and luminosity "ceases to be that which is perfectly clear and becomes instead that which is clearly ambiguous" (Rowe and Slutsky 45). The light box air-portals necessitate a constant fluctuation and remediation that is at once multi-planar, transparent and "hard to read". They are informatic.From holes in the wall to power lunch at 35,000 feet, windows shape the manner in which light, information, sights, smells, temperature and so on are modulated in society. "By allowing the outside in and the inside out, [they] enable cosmos and construction to innocently, transparently, converge" (Fuller, "Welcome" 163). Laptop, phone, PDA and light box point to the differential mobilities within a matrix that traverses multiple modes of transparency and separation, rest and flight, stillness and speed.6. Can You Feel It?Increasingly the whole world has come to smell alike: gasoline, detergents, plumbing, and junk foods coalesce into the catholic smog of our age (Illich 47).In these forlorn corners of mobile consumption, the dynamic of circulation simultaneously slows and opens out. The surfaces of inscription implore us to see them at precisely the moment we feel unseen, unguided and off-camera. Can you see it, can you feel it, can you imagine the unimaginable, all available to us on demand? Expectation and anticipation give us something to look forward to, but we're not sure we want what's on offer.Air travel radicalizes the separation of the air traveller from ground at one instance and from the atmosphere at another. Air, light, temperature and smell are all screened out or technologically created by the terminal plant and infrastructure. The closer the traveller moves towards stillness, the greater the engagement with senses that may have been ignored by the primacy of the visual in so much of this circulatory space. Smell, hunger, tiredness, cold and hardness cannot be screened out.In this sense, the airplanes we board are terminal extensions, flying air-conditioned towers or groundscrapers jet-propelled into highways of the air. Floating above the horizon, immersed in a set of logistically ordained trajectories and pressurized bubbles, we look out the window and don't see much at all. Whatever we do see, it's probably on the screen in front of us which disconnects us from one space-time-velocity at the same time that it plugs us into another set of relations. As Koolhaas says, junkspace is "held together not by structure, but by skin, like a bubble" (Koolhaas). In these distended bubbles, the traveler momentarily occupies an uncommon transit space where stillness is privileged and velocity is minimized. The traveler's body itself is "engaged in and enacting a whole kaleidoscope of different everyday practices and forms" during the course of this less-harried navigation (Bissell 282).7. Elevator MusicsThe imaginary wheel of the kaleidoscope spins to reveal a waiting body-double occupying the projected territory of what appears to be a fashionable Miami. She's just beyond our reach, but beside her lies a portal to another dimension of the terminal's vascular system.Elevators and the networks of shafts and vents that house them, are to our buildings like veins and arteries to the body — conduits that permeate and structure the spaces of our lives while still remaining separate from the fixity of the happenings around them (Garfinkel 175). The terminal space contains a number of apparent cul-de-sacs and escape routes. Though there's no background music piped in here, another soundtrack can be heard. The Muzak corporation may douse the interior of the elevator with its own proprietary aural cologne, but at this juncture the soundscape is more "open". This functional shifting of sound from figure to ground encourages peripheral hearing, providing "an illusion of distended time", sonically separated from the continuous hum of "generators, ventilation systems and low-frequency electrical lighting" (Lanza 43).There is another dimension to this acoustic realm: “The mobile ecouteur contracts the flows of information that are supposed to keep bodies usefully and efficiently moving around ... and that turn them into functions of information flows — the speedy courier, the networking executive on a mobile phone, the scanning eyes of the consumer” (Munster 18).An elevator is a grave says an old inspector's maxim, and according to others, a mechanism to cross from one world to another. Even the quintessential near death experience with its movement down a long illuminated tunnel, Garfinkel reminds us, “is not unlike the sensation of movement we experience, or imagine, in a long swift elevator ride” (Garfinkel 191).8. States of SuspensionThe suspended figure on the screen occupies an impossible pose in an impossible space: half falling, half resting, an anti-angel for today's weary air traveller. But it's the same impossible space revealed by the airport and bundled up in the experience of flight. After all, the dimension this figures exists in — witness the amount of activity in his suspension — is almost like a black hole with the surrounding universe collapsing into it. The figure is crammed into the light box uncomfortably like passengers in the plane, and yet occupies a position that does not exist in the Cartesian universe.We return to the glossy language of advertising, its promise of the external world of places and products delivered to us by the image and the network of travel. (Remmele) Here we can go beyond Virilio's vanishing point, that radical reversibility where inside and outside coincide. Since everybody has already reached their destination, for Virilio it has become completely pointless to leave: "the inertia that undermines your corporeity also undermines the GLOBAL and the LOCAL; but also, just as much, the MOBILE and the IMMOBILE” (Virilio 123; emphasis in original).In this clinical corner of stainless steel, glass bricks and exit signs hangs an animated suspension that articulates the convergence of a multitude of differentials in one image. 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