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Journal articles on the topic 'Sonic environments'
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1
Green, Andrew. "Post Sonica: a speculative design project that cultivates community and sense of place within the city soundscape." Journal of the Acoustical Society of America 151, no. 4 (2022): A251. http://dx.doi.org/10.1121/10.0011226.
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There is a strong history of soundscape reverence and reflection in Utah. From Messiaen to Ussachevsky, scholars and composers alike have been inspired by the state’s sonic environment. Using these individuals’ reflective works as a muse while simultaneously incorporating R. Murray Schafer’s insights on soundscapes, I performed a sound sample study across Salt Lake City. Analyzing my samples led me to design a public installation that explores the ways in which our sonic environments affect daily life at the intersection of time, sound, and place. The concept for post sonica is a granite cylinder (4 ft. wide × 3 ft. high). Three arms rotate from the center at variable speeds in response to the strength and pitch of the sounds around them. Pads at the arms’ ends wear away separate paths in the granite base with each pass, creating the sonic “fingerprint” of a place over time. User engagement is necessarily bidirectional; as passersby are moved to interact with the device, their moment of reflection is captured and physicalized by the spinning arms. In this way, post sonica is a reminder of an urban community’s fundamental interconnectedness and the ever-present soundscape that functions as a part of it all.
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Fujak, Július. "Sonic (and Other) Environments as the Mirror of Society (and as the Challenge for Artistic Testimony)." Linguistic Frontiers 8, no. 1 (2025): 1–8. https://doi.org/10.2478/lf-2025-0007.
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Abstract The main topics of the paper are the (non)ecological dimensions of sonic and other environments in contemporary world reflecting the “suchness” and quality of certain cultures and society of global transcapitalism in its late phase of digitalisation, and devastation as well. Various social discursive and nondiscursive practices of this civilization influence very deeply our ways of living in many important dimensions—spiritual, moral, ecological, economic, political, and way of communication among others, which is mirrored in different sonic (and other) environments we are situated. The author refers to the special works of arts, kind of new musical discourses appropriating field recordings of unique environments, sonic sculptures, or intermedia installations in social-critical contexts as the testimonies of such artists as Bob Ostertag (USA), Peter Machajdík, Jonáš Gruska (both SK), among others.
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He, Jun. "Quartet: Designing for an Experimental Audio Game in Mixed Reality Environments." Lecture Notes in Education Psychology and Public Media 5, no. 1 (2023): 482–90. http://dx.doi.org/10.54254/2753-7048/5/20220673.
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Applying sonic interaction to game design has gained momentum in recent year. This paper proposes a novel approach to design an experimental audio game Quartet that is immersive and highly interactive in the mixed reality environment. The chief aims of designing this game are to explore the music improvisation techniques by using the software Touchdesigner and to create a new spectatorship of sonic interaction in immersive experiences. To achieve the goals, several methods were presented: interactive storytelling, audio visualization, ceding control, sonic interaction, etc. The research has also recorded valuable data about players experiences of the game including their overall level of immersion, perception of the story, and overall feeling of the sound design. The results suggested that an interactive sonic design can boost players engagement and convey emotions and information more efficiently and accurately. For further research, this audio based experiment can be contributed to the field of inclusive design especially for visually impaired people and children with multiple disabilities.
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Marini, Chloe A., and Kimberly A. Riegel. "Stochastic ray tracing implementation for sonic boom propagation modeling." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A106. http://dx.doi.org/10.1121/10.0026969.
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Sonic boom propagation in large urban areas needs to be understood to determine the impact it will have on residents. In previous work, a combination of ray tracing and radiosity method was used to model the reflections of the sonic booms around large structures. Radiosity is a memory intensive method which requires extensive computational resources as the environment becomes more complex, whereas stochastic ray tracing does not require substantially more resources for more complicated environments. This study examines the feasibility of using stochastic ray tracing to simulate the diffuse reflections of sonic booms. Receiver graphs comparing stochastic ray tracing and radiosity methods for several environments will be shown, along with their computation times.
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Lacey, Jordan. "Three Tools for Sonic Rupture: Translating Ambiance, Biophilic Sound Design and More-Than-Human Listening." Loci Communes 1, no. 2 (2022): 1–24. http://dx.doi.org/10.31261/lc.2022.02.02.
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Sounds of the city shape everyday perception; thus, as sounds change, so do our moods and responses to the environments in which we live. This article is part of a discourse trying to recognise the essential role that soundscape design should play in urban planning to improve quality of life experiences. It aims to discuss three tools for creating sonic ruptures in urban environments: translating ambiance, biophilic sound design, and more-than-human listening. The three tools are related to the sonic rupture concept, introduced as a form of soundscape design focused on improving the quality of life for urban dwellers and creating new possible approaches for urban design. Translating ambiance leverages ambiance theory to explore the prospects of translating the affective qualities of the natural world into cities. The biophilic sound design tool combines biophilic design and field recording practices to discover innovative ways to bring the sounds of nature into the city. The more-than-human listening tool explores the possible recordings that multi-microphone arrays can make in natural environments that, while impossible to hear with the human ear, can be integrated into urban installations. In combination, this suite of tools presents new ways of thinking about the roles artistic research can play in urban soundscape design as a means to expand the range of human experience – and thus the quality of life – in urban environments. The nature term, as used here, refers to those expanses of land free of urban development that present unique sonic experiences and expressions to the artistic researcher, which can be applied to urban design. The described approach has been tested in the creation of the Sonic Gathering Place, an installation that integrates the three post-sonic rupture tools, which will be touched on briefly in this paper.
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Pinheiro, Sara, and Jiří Rouš. "Reflections on Sound Associations and Sonic Digital Environments." Resonance 3, no. 3 (2022): 255–67. http://dx.doi.org/10.1525/res.2022.3.3.255.
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This essay uses a “thought experiment” in order to combine theories of perception with sound practices. For that, it explores the concept of “object of thought” and the process of brain-associations in relation to acousmatic composition and reduced listening. Throughout the hypothetical premise of a falling tree, the study brings to discussion digital environments, in particular in relation to methodologies behind game engines. Eventually, it proposes to divide the question “If a tree falls in a forest and no one is around to hear it, does it make a sound?” according to its multiple angles—the falling tree, the tree of thought, the sound of the fall, and the tree in the digital environment—in order to arrive at the ultimate question: Is there a tree, did it fall, is there a forest, is there a sound?
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Klos, Jacob. "Sonic boom induced window rattle in indoor environments." Journal of the Acoustical Society of America 143, no. 3 (2018): 1936. http://dx.doi.org/10.1121/1.5036330.
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Manderson, Lenore, and Ed Osborn. "Rumble Filters: Sonic Environments and Points of Listening." Contemporary Music Review 36, no. 3 (2017): 119–26. http://dx.doi.org/10.1080/07494467.2017.1401353.
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Willemsen, Silvin, Helmer Nuijens, Titas Lasickas, and Stefania Serafin. "The Sonic Interactions in Virtual Environments (SIVE) Toolkit." Journal of the Audio Engineering Society 71, no. 6 (2023): 363–73. http://dx.doi.org/10.17743/jaes.2022.0082.
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Sorrell, Avery K., Mark C. Anderson, Kaylee Nyborg, and Kent L. Gee. "Investigating sonic booms using impulse metrics." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A257. http://dx.doi.org/10.1121/10.0027416.
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As an impulsive sound, a sonic boom exhibits traits similar to other transient acoustic impulses, such as a single strike of a sledgehammer strike or an exploding firework. Although several metrics exist to assess the nature and potential acoustic hazards of these other impulsive sounds, these metrics are rarely applied to sonic booms. This paper investigates the use of several metrics commonly applied to impulsive sounds, such as B and D durations or the kurtosis of the pressure waveform, for sonic booms recorded during previous NASA flight test campaigns, including CarpetDIEM (Carpet Determination in Entirety Measurements) and QSF18 (Quiet Supersonic Flights 2018). Understanding the behavior of these metrics in urban (QSF18) and rural (CarpetDIEM) environments adds to the larger body of knowledge concerning sonic boom measurements and properties and may be useful in quantifying sonic boom variability in communities.
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Schirmer, Annett, Yong Hao Soh, Trevor B. Penney, and Lonce Wyse. "Perceptual and Conceptual Priming of Environmental Sounds." Journal of Cognitive Neuroscience 23, no. 11 (2011): 3241–53. http://dx.doi.org/10.1162/jocn.2011.21623.
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It is still unknown whether sonic environments influence the processing of individual sounds in a similar way as discourse or sentence context influences the processing of individual words. One obstacle to answering this question has been the failure to dissociate perceptual (i.e., how similar are sonic environment and target sound?) and conceptual (i.e., how related are sonic environment and target?) priming effects. In this study, we dissociate these effects by creating prime–target pairs with a purely perceptual or both a perceptual and conceptual relationship. Perceptual prime–target pairs were derived from perceptual–conceptual pairs (i.e., meaningful environmental sounds) by shuffling the spectral composition of primes and targets so as to preserve their perceptual relationship while making them unrecognizable. Hearing both original and shuffled targets elicited a more positive N1/P2 complex in the ERP when targets were related to a preceding prime as compared with unrelated. Only related original targets reduced the N400 amplitude. Related shuffled targets tended to decrease the amplitude of a late temporo-parietal positivity. Taken together, these effects indicate that sonic environments influence first the perceptual and then the conceptual processing of individual sounds. Moreover, the influence on conceptual processing is comparable to the influence linguistic context has on the processing of individual words.
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Wilson, Dave. "Sounding Together." Environmental Humanities 16, no. 1 (2024): 230–42. http://dx.doi.org/10.1215/22011919-10943177.
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Abstract This article reflects on the participation of humans and other species as listening and sounding entities in creating sonic environments. The article offers a preliminary reflexive consideration of the author’s current composition-improvisation project, discussing how the project’s pieces transform and transport particular sonic environments of the author’s experience to new settings. The author meditates through birdsong on what it sounds like to compose, improvise, and perform with the sonic affordances of our surroundings. The article suggests that extensions of interspecies and interhuman acoustic assemblages and sonic affordances in composition and improvisation can bring overlapping elements of world-making projects into focus and open up potentialities for new ones. In the article, the author blends reflection with musical description and analysis of one of the project’s pieces, refusing to situate nature as other and rejecting a posture that uses nonhuman sound for personal (human) benefit. By focusing on the edge effects of the overlapping world-making projects at the site of the Zealandia Te Mārā a Tāne Wildlife Sanctuary in Te Whanganui-a-Tara Wellington, Aotearoa New Zealand, and on challenging settler colonial listening practices, the article reflects on the implications of sharing spaces with other humans and with countless species beyond our own.
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Batchelor, Peter. "The Intimate and the Immersive in Grids: Multichannel Sound Installations." Leonardo Music Journal 23 (December 2013): 6–7. http://dx.doi.org/10.1162/lmj_a_00136.
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Claus, Caroline, and Burak Pak. "Studio_ L28: From a Socially Engaged Sound Art Practice to an Open Training Ground for Sonic Design Experimentation." SHS Web of Conferences 64 (2019): 02004. http://dx.doi.org/10.1051/shsconf/20196402004.
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This paper reflects the preliminary findings of a PhD research on the spatial politics and potentials of noise and vibration, and the affective or attractive and repulsive power of sonic force. We focus on the public space of a railway area in transformation in Brussels, where sonic conflicts are prevalent. To explore the affordances of a sonic urbanism as critical spatial practice and thus to break free from prevailing modes of urbanism which focus on sonic risk and vibrational nuisance − we constitute a working practice exploiting and nurturing the productive encounters between disciplines such as sound art, urbanism and urban architecture. By setting up an experimental design studio at the KU Leuven Faculty of Architecture, embedded in local auditory culture and in connection to ongoing planning processes, we aimed to facilitate an open learning ground for sonic design experimentation in the development of innovative sonic spatial tools and approaches. The studio was oriented to students of the International Master in Architecture summoned to research the multiple (sonic) vibrations of the L28 railway area, to exploit and contrast these vibrational forces, transforming them to into actions and opportunities. From a critical sonic understanding of urban space, students played and explored a contradictory role compared to the widespread noise control practices, reformulated environments, perimeters and relations of urban phenomena and searched for interactivity with vibrational dynamics that already exist in the territory.
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Truax, Barry. "Genres and techniques of soundscape composition as developed at Simon Fraser University." Organised Sound 7, no. 1 (2002): 5–14. http://dx.doi.org/10.1017/s1355771802001024.
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The soundscape composition, as pioneered at Simon Fraser University since the early 1970s, has evolved rapidly to explore a full range of approaches from the ‘found sound’ representation of acoustic environments through to the incorporation of highly abstracted sonic transformations. The structural approaches similarly range from being analogues of real-world experience, such as listening from a fixed spatial perspective or moving through a connected series of acoustic spaces, to those that mirror both nonlinear mental experiences of memory recall, dreams, and free association, as well as artificial sonic constructs made familiar and possible by modern ‘schizophonic’ audio techniques of sonic layering and embedding. The octophonic surround-sound playback format as used in contemporary soundscape presentations has achieved a remarkable sense of immersion in a recreated or imaginary sonic environment. Specific works realised at SFU are analysed that illustrate each of these approaches.
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Wangui, Toni. "Echoes of impact: Unraveling the sonic boom." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A123. https://doi.org/10.1121/10.0035330.
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This study examines the impact of sonic booms on urban communities and architectural structures, specifically focusing on how these intense sound waves interact with buildings. Sonic booms, typically generated by aircraft exceeding the speed of sound, pose potential risks and disturbances to structural integrity and community well-being. To better understand these interactions in detail, this study employs advanced ray tracing methods, a technique used in acoustics to model how sound waves propagate through different environments. A few modifications and additions were made thorough python to the existing ray tracing code that allowed for a more precise simulation of the waves’ behavior when encountering buildings. The study’s findings aim to provide deeper insight into the mitigation strategies that can be employed to protect structures and/or build better aircraft that can minimize sonic boom or better yet produce sonic thump.
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Droumeva, Milena. "Soundscapes of Productivity." Resonance 2, no. 3 (2021): 377–94. http://dx.doi.org/10.1525/res.2021.2.3.377.
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Using the urban portmanteau terms “coffice” and “coffitivity” as a starting point, this paper examines ideas around sound and productivity with a focus on coffee shop ambiences. The project considers café soundscapes “soundscapes of productivity” reflective of changing attention spans, work process, and stress management that invoke cultural histories of Muzak, personalized sonic spaces, and the sonic management of everyday life. A result of over six years of ethnographic observations, recordings, and decibel measurements, Soundscapes of Productivity has also been compiled into a Story Map as a kind of soundwork collage of different coffee shop ambiences in Vancouver, Canada. Vancouver is used here for its local specificity, including a rapidly gentrifying urban infrastructure and a creative freelance haven with aspirations to be the Canadian Silicon Valley. The project presents an opportunity to link scientific discourses of the stimulus response model of sonic productivity historically and politically with the modern practice of productivity playlists, and bridge them together with acoustic environments seemingly replicating former factory production—environments such as the urban coffee shop.
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Lindborg, PerMagnus, and Anders Friberg. "Personality Traits Bias the Perceived Quality of Sonic Environments." Applied Sciences 6, no. 12 (2016): 405. http://dx.doi.org/10.3390/app6120405.
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Otondo, Felipe, and Victor Poblete. "Using a Sonic Time-Lapse Method as a Compositional Tool." Organised Sound 25, no. 2 (2020): 198–204. http://dx.doi.org/10.1017/s1355771820000102.
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This article describes an innovative compositional method based on the use of a sonic time-lapse algorithm to create soundscape audio montages. The method is based on the superposition of short audio samples of 24-hour continuous field recordings carried out in various kinds of wildlife sonic environments. The optimisation of the algorithm focused on the enhancement of gradual crossfade transitions between recorded samples and the use of variable sample durations as a way of recreating a natural sense of evolution of sonic events in time. Future developments of the project will integrate virtual reality interfaces and environmental education projects as part of the time-lapse algorithm machine-learning techniques and also creative tools suitable for multimedia installations.
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Aliel da Silva, Luzilei, Damián Keller, and Rogério Luiz Moraes Costa. "The Maxwell Demon: a proposal for modeling in ecological synthesis in art practices." Revista Música Hodie 18, no. 1 (2018): 103–16. http://dx.doi.org/10.5216/mh.v18i1.53575.
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 This paper aims to expand the research on ecological synthesis models (KELLER, 1999) through the inclu- sion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositio- nal environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach en- tails the use of socio-ecological models that deal with complex adaptive systems [SIBERTIN et al., 2011]. We develo- ped a performance/experiment called The Maxwell Demon, as a case study. The observations done during the study indicate that imitation is an important strategy for creative activities in socio-ecological systems. Improvisation may provide a relevant sonic content in ecological environments, enhancing their flexibility without losing consistency. Keywords: Comprovisation; Socio-Ecological System; Performance/Experiment 
 
 
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Hällsten, Johanna. "Sonic Movements – Spatial Reflexivity." Somatechnics 4, no. 1 (2014): 133–48. http://dx.doi.org/10.3366/soma.2014.0116.
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This article aims to investigate the creation of space and sound in artistic and architectural fields, with particular emphasis on the notions of interval and duration in the production and experience of soundscapes. The discussion arises out of an ongoing research project concerning sonic structures in public places, in which Japanese uguisubari ([Formula: see text]) – ‘nightingale flooring’, an alarm system from the Edo period) plays a key role in developing new kinds of site-specific and location-responsive sonic architectural structures for urban and rural environments. This paper takes uguisubari as its frame for investigating and evaluating how sounds create a space (however temporary), and how that sound in turn is created through movement. It thus seeks to unpick aspects of the reciprocal and performative act in which participant and the space engage through movement, whilst creating a sonic environment that permeates, defines and composes the boundaries of this space. The article will develop a framework for these kinds of works through a discussion on walking, movement, soundscape and somatechnical aspects of our experience of the world, drawing upon the work of Merleau-Ponty, Bergson and the Japanese concept of Ma (space-time).
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Lein, Julie Gonnering, Nina McCurdy, and Amanda Hurtado. "Deep in Poetry: Visualizing Texts’ Sonic Depths in 3D." Leonardo 51, no. 1 (2018): 80–82. http://dx.doi.org/10.1162/leon_a_01415.
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Poemage is a visualization system designed to support close reading of poems via revelation and exploration of their complex sonic structures. The authors improvised adaptations of this software into 3D interactive environments, experimenting with several ways to visualize “sonic depth” in poetic texts. Not only did this process lead to intensified cross-modal literary experiences, it challenged the authors’ thinking about commonly held values pertaining to poetry, text analysis and information visualization, prompting them to experiment with new practices in each field.
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Adrián Rodríguez, María Celia, and Elena De Uña-Álvarez. "THE SOUND DIMENSION IN THE UPPER BASIN OF THE MIÑO RIVER (GALICIA, NW IBERIAN PENINSULA)." ENVIRONMENTAL SMOKE, Special Issue (December 31, 2021): 48–53. http://dx.doi.org/10.32435/envsmoke/xibesymp.8.
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The sound spectrum of water configures representative marks of various environments, which define a sound heritage with scientific, cultural, emotional, sensorial and educational value. From this perspective, river environments comprise a wide spectrum of sonic resonances. This study, contextualized within the field of geo-sonority research, considers the recording and analysis of water through several samples from the upper basin of the Miño River. The objectives are to advocate for the role of sonority as part of the intangible heritage, to explore its character in the fluvial environment of inland Galicia, and to contribute to the preservation of the sonic marks of water as sounds inherent to the identity of an area. The methodology applied consists of phases of field recording, the creation of databases and of phonic analysis. Water in its sound form, from the drop rhythmically repeating to the roar of a waterfall, fills an audible sound spectrum that characterizes soundscapes. By registering, documenting, and analyzing the sounds of the water, we advance in the knowledge of the diversity of the sound environments in the river basin of the Miño River.
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Chattopadhyay, Budhaditya. "Post-immersive Listening: Perspectives on the Mediation of Sonic Environments." Revista Vórtex 12 (January 22, 2025): 1–19. https://doi.org/10.33871/vortex.2024.12.9663.
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Unplanned meetings can stem from complex movements across geographies, with serendipity playing a key role. Media artist Budhaditya Chattopadhyay unexpectedly meets researcher Budhaditya Chattopadhyay at a café in Budapest. This is their eighth meeting, following previous encounters in Copenhagen (2017), Den Haag (2021c), Kolkata (2021b), Berlin (2022a), Beirut (2022b), Basel (2023), and Rampurhat (2024). Each interaction has fostered a reflexive exchange of ideas, merging their artistic and theoretical perspectives on sound, listening, migratory experiences, and decolonial activism. Despite the differing lenses they bring, their conversations generate new insights. In the bustling café, surrounded by disengaged students emblematic of the isolation in European universities, the two engage in thoughtful discussions on acoustic ecologies, sonic environments, field recording, and audiovisual media. Their dialogue embodies a spirit of camaraderie, underscoring the value of interdisciplinary exchanges in nurturing knowledge and understanding across artistic and scholarly domains.
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Mullet, Timothy C., and Almo Farina. "Ecoacoustic Baseline of a Successional Subarctic Ecosystem Post-Glaciation Amidst Climate Change in South-Central Alaska." Diversity 17, no. 7 (2025): 443. https://doi.org/10.3390/d17070443.
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As climate change alters subarctic ecosystems and human activities in Alaska, ecological baselines are critical for long-term conservation. We applied an ecoacoustic approach to characterize the ecological conditions of a rapidly deglaciating region in Kenai Fjords National Park, Alaska. Using automated recording units deployed at increasing distances from a road, we collected over 120,000 one-minute audio samples during the tourist seasons of 2021 and 2022. Ecoacoustic indices—Sonic Heterogeneity Index (SHItf), Spectral Sonic Signature (SSS), Weighted Proportion of Occupied Frequencies (wPOF), and Normalized Difference Sonic Heterogeneity Index (NDSHI)—were used to measure spatio-temporal patterns of the sonoscape. Results revealed higher sonic heterogeneity near the road attributed to technophony (vehicles) and geophony (wind) that spanned across the frequency spectrum, masking mid-high frequency biophony. Seasonal phenology and diel variations reflected ecological and human rhythms, including biophony from the dawn chorus from May–June, technophony from vehicle-based tourism from July–September, and decreased sonic activity in the form of geophonic ambience in October. Low-frequency geophonies were prevalent throughout the sonoscape with more natural sounds at greater distances from the road. Our findings demonstrate the benefits of using ecoacoustic methods to assess ecosystem dynamics for establishing ecological baselines useful for future comparisons in rapidly changing environments.
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Fujak, Július. "Transparent Sonic Sculptures in Site-Specific Intermedia Music." Res Facta Nova. Teksty o muzyce współczesnej, no. 23 (32) (December 31, 2022): 71–79. http://dx.doi.org/10.14746/rfn.2022.23.5.
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The paper deals in the first part with the centripetal juxtaposition of Marcel Duchamp’s Sculpture Musicale and John Cage’s 4’33”. Both pieces became the starting points of the author´s creation of acousmatic comprovised music saving/transforming unique soundscapes (mostly) in Slovakia. The sounds of specific environments (with semantic social meanings) as a kind of unique musical-sonic sculptures were involved in his musical artistic projects: e. g. Animation of Silence (in Music) of Puppets (2000), or Nitrian Atlantises (2013) dedicated to the part of the pre-ancient history of Nitra as well as to semantic parallels of this period in the contemporary life of the city. Melancholy (2017), co-created with the fine artist Slavomír Zombek and the poet Peter Milčák, has changed the site of a desolate cowhouse near Levoča to the site-specific gallery/concert hall of sounding events. Sonic Sculpture of Bin (2018) inspired by Duchamp’s idea mentioned above was realized in a deserted refinery in Rimavská Sobota as site-specific sonic-musical piece, as well as other transparent sonic sculptures Cockroach Lure (2019) with intermedia artist Petr Nikl, and two pieces, La Mer (2021/2022) and ÚÚÚ-FFF-ÓÓÓ (2021), dedicated to two great Slovak conceptual intermedia artists, Milan Adamčiak and Július Koller. In the final comment, the author writes about the phenomena of sonic photography – related to the ideas of Roland Barthes’ La Chambre Claire – which can be appropriated as an organic part of transparent sonic-musical sculpture.
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Emmerson, Simon. "New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art." Organised Sound 6, no. 2 (2001): 103–5. http://dx.doi.org/10.1017/s1355771801002047.
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The author has written articles and papers on the possibilities of differentiated spaces in the composition of electroacoustic music (Emmerson 1994, 1998). He extends this into a more practical discussion on the spaces used for the presentation of electroacoustic music (acousmatic music and ‘live electronic’ music), sound installations and other sonic art. The move into more informal ‘club’ environments is not without controversy. The ‘sampling’ approach to the very act of listening and ‘consuming’ sonic art has challenged traditional concert hall presentation. This paper brings various possibilities into plans (at once conceptual but also intended to have practical application) for a multi-space ‘Sound House’: a centre for the performance of the sonic arts. This centre is socially embedded within interpersonal human interaction and is not to be found in the current performance possibilities of the Internet – though it may be connected to others of its kind through this means.
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Nitsche, Martin. "Sonic Environments as Systems of Places: A Critical Reading of Husserl’s Thing and Space." Open Philosophy 4, no. 1 (2021): 136–48. http://dx.doi.org/10.1515/opphil-2020-0164.
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Abstract This article offers a thorough and critical reading of Husserl’s Thing and Space. This reading is principally motivated by the effort to methodologically design a phenomenological–topological approach to the research of lived sonic environments. In this book, Husserl lays foundations of phenomenological topology by understanding perceptions as places and defining, consequently, the space as a system of places. The critical reading starts with pointing out the ambiguity of location in Thing and Space, which consists mainly in the insufficient implementation of the distinction between the location and the localization. Further investigations then reveal the roots of this ambiguity in both the preference of visual perception and the omission of subjective aspects of kinesthesia. The article critically examines Husserl’s notion of the appended localization that expresses the marginalization of (among others) acoustic experience. In conclusion, the article utilizes the critical findings to formulate the project of a place-based (phenomenological–topological), medium-centered, and multi-sensory approach to sonic environments.
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Whalley, Ian. "Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification." Organised Sound 20, no. 1 (2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.
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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. These streams will increase rapidly with the expansion of the Internet of Things (IoT), and with the increasing deployment of algorithmic decision-making and machine learning software. While collated data streams, such as news feeds, are often rendered visually, they are also partly interpreted through embodied cognition that is similar to music and sonic art interpretation. A meeting point for telematic electroacoustic music and real-time data sonification is in affective composition/performance models and data sonification. These allow for the sonic exploration of participants’ place in a matrix of increasingly networked relationships.
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White, Robert D., and Don Banfield. "Sonic anemometry on a high altitude balloon." Journal of the Acoustical Society of America 151, no. 4 (2022): A185. http://dx.doi.org/10.1121/10.0011044.
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Recent results demonstrate the promise of sonic anemometry for accurate, three dimensional, high update relative wind measurements in high altitude (stratospheric) balloons and for planetary science missions on Mars, Venus, and other environments [Banfield, JASA (2016); White, ASA (2020); White, AIAA (2020)]. The Tufts sonic anemometer, operating at 40kHz with six commercial piezoelectric transducers and custom electronics and frame, flew out of Fort Sumner, New Mexico on August 30 2021, reaching a height of 106°000 feet at float. The entire duration of the flight was 4 h and 42 min, with 2 h at float. The three axis sonic anemometry system collected sound speed and three dimensional relative wind velocity in two modes, at 3.4 Samples/sec or 1.5 Samples/sec. Results reported include comparison to balloon inertial and GPS motion to attempt to establish accuracy. Analysis is ongoing. [Work supported by NASA-NNX16AJ24G and NASA-80NSSC20M0007. Thanks to Chris Yoder and NASA Wallops Balloon Programs Office for technical support.]
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Agarwal, Dr Ayushi, Dr Sanjeev Tyagi, Dr Vartul Dwivedi, and Dr Deeksha Pawar. "Comparative Evaluation of Chitosan Nanoparticles in Root Canal Disinfection Using Sonic and Ultrasonic Activation: An In Vitro Study." IOSR Journal of Dental and Medical Sciences 24, no. 6 (2025): 46–52. https://doi.org/10.9790/0853-2406044652.
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Background: Achieving effective disinfection of the root canal system is essential for the long-term success of endodontic treatment. Enterococcus faecalis, known for its resistance and ability to survive in harsh environments, is a key contributor to persistent root canal infections. Although commonly used irrigants like sodium hypochlorite (NaOCl), chlorhexidine (CHX), and EDTA are effective to a degree, their limitations—such as cytotoxicity or lack of substantivity—have led to growing interest in alternative solutions. Chitosan nanoparticles (CNPs), due to their biocompatibility and antimicrobial properties, offer a promising option. Aim: This in vitro study aimed to evaluate the antimicrobial efficacy of a chitosan nanoparticle solution in root canal disinfection and compare its performance with standard irrigants—NaOCl, CHX, and EDTA—when activated using both sonic and ultrasonic techniques. Materials and Methods: Sixty freshly extracted, single-rooted human teeth were prepared and inoculated with E. faecalis biofilms over 21 days. The specimens were divided into six groups based on the irrigant and activation method: Group I – NaOCl with sonic activation, Group II – CHX with sonic activation, Group III – EDTA with sonic activation, Group IV – CNP with sonic activation, Group V – CNP with ultrasonic activation, and Group VI – saline with sonic activation (control). Microbial samples were collected before and after irrigation, and the number of viable bacteria was assessed by counting colony-forming units (CFUs). Results: All experimental groups showed a significant reduction in bacterial counts compared to the control. NaOCl showed the highest antimicrobial effectiveness, followed closely by CNP activated ultrasonically. CNPwith sonic activation also demonstrated strong antibacterial activity, performing better than EDTAand comparable to CHX. Ultrasonic activation improved the performance of CNPs compared to sonic activation. Conclusion: Chitosan nanoparticles showed promising antibacterial effects against E. faecalis, especially when combined with ultrasonic activation. These findings suggest that CNPs could serve as a safe and effective alternative to traditional irrigants in root canal therapy. Further clinical research is needed to confirm their potential in real-world settings
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Serafin, Stefania, Federico Avanzini, Amalia De Goetzen, et al. "Reflections from five years of Sonic Interactions in Virtual Environments workshops." Journal of New Music Research 49, no. 1 (2020): 24–34. http://dx.doi.org/10.1080/09298215.2019.1708413.
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Ross, Samuel R. P.-J., Nicholas R. Friedman, Masashi Yoshimura, Takuma Yoshida, Ian Donohue, and Evan P. Economo. "Utility of acoustic indices for ecological monitoring in complex sonic environments." Ecological Indicators 121 (February 2021): 107114. http://dx.doi.org/10.1016/j.ecolind.2020.107114.
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Nguyen, Hai Hoang, Phu Dang Nguyen, Tuan Quoc Tran, and Luong Hoang Nguyen. "Preparation and properties of nanoparticles by chemical reactions with assistance of physics factors." Science and Technology Development Journal 16, no. 1 (2013): 86–91. http://dx.doi.org/10.32508/stdj.v16i1.1423.
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Versatile chemical reactions with the help of physical factors such as microwaves, sonic radiations, laser, elevated temperature and pressure have successfully been used to prepared silicon (high surface area), iron oxide (in amorphous and crystalline state), silver, gold, iron-platinum, cobalt-platinum nanoparticles. The microwaves fostered the chemical reactions via homogeneous and fast heating processes; the sonic radiations from an ultrasonicator created ultra-fast cooling rates at high power or just played a role of mechanical waves at low power; laser provided energy nanoparticles from bulk plates; elevated temperature and pressure produced good environments for unique reactions. All those preparation methods are simple and inexpensive but they could produce nanoparticles with interesting properties.
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de la Prida, Daniel, Margret Sibylle Engel, Janina Fels, and Antonio Pedrero. "The relevance of psychoacoustic percentiles for the description of morphological characteristics in urban areas." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 2 (2021): 4660–71. http://dx.doi.org/10.3397/in-2021-2789.
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Research over the last decade has explored the relevance of psychoacoustic indicators such as Loudness (N), Sharpness (S), Roughness (R) and Fluctuation Strength (FS) for the description of the perceptual construct of soundscapes. Furthermore, the recent ISO 12913-2 standard, published in 2018, recommends their use for the quantitative assessment of soundscapes. However, usually, investigations on soundscapes are using averages of the psychoacoustic indicators, and little research has evaluated the relevance of percentiles for the perceptual description of physical environments in terms of geometrical features, prevailing noise sources, temporal and meteorological variables, etc. This study aims to verify whether psychoacoustic percentiles can representatively describe the geometrical features of different urban sonic environments. For this purpose, recordings were taken in Aachen and Madrid in different days and seasons, at 14 certain locations in each town. In addition, morphological data was collected of the sites. A Principal Component Analysis (PCA), conducted on psychoacoustic percentiles (i.e., P1, P5, P10, P50, P90, P95, P99) of N, S, R and FS and geometrical features (road, pedestrian sidewalk and propagation path widths, as well as building heights), showed well-defined components, highlighting the fact that some percentiles can describe specific geometrical features of the urban sonic environments.
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Chapman, David. "Context-based Sound and the Ecological Theory of Perception." Organised Sound 22, no. 1 (2017): 42–50. http://dx.doi.org/10.1017/s1355771816000327.
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This article aims to investigate the ways in which context-based sonic art is capable of furthering a knowledge and understanding of place based on the initial perceptual encounter. How might this perceptual encounter operate in terms of a sound work’s affective dimension? To explore these issues I draw upon James J. Gibson’s ecological theory of perception and Gernot Böhme’s concept of an ‘aesthetic of atmospheres’.Within the ecological model of perception, an individual can be regarded as a ‘perceptual system’: a mobile organism that seeks information from a coherent environment. I relate this concept to notions of the spatial address of environmental sound work in order to explore (a) how the human perceptual apparatus relates to the sonic environment in its mediated form and (b) how this impacts on individuals’ ability to experience such work as complex sonic ‘environments’. Can the ecological theory of perception aid the understanding of how the listener engages with context-based work? In proposing answers to this question, this article advances a coherent analytical framework that may lead us to a more systematic grasp of the ways in which individuals engage aesthetically with sonic space and environment. I illustrate this methodology through an examination of some of the recorded work of sound artist Chris Watson.
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Schomer, Paul. "Attention to rattles and a non-equal-energy model are required for proper sonic boom assessment." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A275. http://dx.doi.org/10.1121/10.0018829.
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This paper is concerned with the assessment of community response to sonic booms or blasts. It summarizes and analyzes the totality of results from studies in the English language that used real booms or blasts, with subjects in real buildings. In acoustics, we are accustomed to noise sources operating in accordance with the equal-energy principle (a 1 dB increase in amplitude is equivalent to a 1 dB increase in duration). The results show that rattles are the most important attribute contributing to the annoyance engendered by sonic booms/blasts, and that the process is not equal-energy. Rather, the equivalent annoyance generated by a change of 1 dB in the C-weighted boom or blast amplitude is equal to about a 1.5 to 2 dB change in the boom or blast duration where the exchange rate is defined to be 1 over these changes in duration, 0.67 and 0.5, respectively. The exchange rates found in several sonic boom/blast noise studies are given, and as an example, the exchange rate for the historical Oklahoma City study is calculated. The conclusions from the Long-Term Sonic Boom Noise Environments study are examined in relation to the range of exchange rates found in other boom/blast studies.
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Gleeson, Sophie. "The Sonic Identity Model: one interdisciplinary approach for qualitative urban soundscape analysis, management and design." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 7 (2023): 906–15. http://dx.doi.org/10.3397/in_2022_0129.
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Urban soundscapes are predominantly understood through the use of quantitative environmental noise management and traditional acoustic design approaches. These approaches, while valuable, do not capture the subjective qualities of sonic environments as experienced by its users. The Sonic Identity Model, developed by Pascal Amphoux of the Centre for Research on Sonic Space and Urban Environment (CRESSON), offers one interdisciplinary approach for qualitative urban soundscape analysis, management and design. The interdisciplinary Model is intended to be used by large research teams to study a city's soundscape. Since its publication in 1993 it has received little attention in urban soundscape research and practice. In this paper I provide an introduction to, and overview of, the Sonic Identity Model. I review practitioner uses of the Model, with a focus on its demonstrated applicability in conjunction with traditional acoustic design approaches. I then present my contemporary adaptation of the methodology, developed for individual researchers to study indoor and outdoor urban soundscapes in situ, and describe its use in a limited urban study. This paper serves to position the Model as a guiding framework for future urban soundscape practice, offering practitioners a toolkit of qualitative methods for soundscape documentation and conceptual tools for soundscape analysis.
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Brøvig-Hanssen, Ragnhild, and Anne Danielsen. "The Naturalised and the Surreal: changes in the perception of popular music sound." Organised Sound 18, no. 1 (2013): 71–80. http://dx.doi.org/10.1017/s1355771812000258.
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In a musical context, the word ‘sound’ implies a set of sonic characteristics. Within popular music, this notion of sound sometimes supplies the very identity of a tune, a band or a musician. Sound is often conceptualised as a virtual space and in turn compared to actual spatial environments, such as a stage or an enclosed room. One possible consequence of this tendency is that this virtual space can become utterly surreal, displaying sonic features that could never occur in actual physical environments. This article concerns the ways in which the increased possibilities for creating a spatially surreal sound, thanks to new technological tools, have been explored within the field of popular music over the past few decades. We also look at the ways in which the effect of such features may have changed over time as a consequence of what we call processes of naturalisation. As a particularly interesting example of the complexity of such processes, we explore ‘the music sound stage’. In addition, we analyse three songs by Prince, Suede and Portishead to reveal the possibly surreal aspects of these productions.
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Pantsidou, Maria, and Jade J. Li. "Nuclear Soundscapes: Exploring Sound in Radioactive Environments." AM Journal of Art and Media Studies, no. 25 (September 15, 2021): 1–12. http://dx.doi.org/10.25038/am.v0i25.458.
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Just after World War II, mounting evidence marked the dawn of the geological epoch dubbed the Anthropocene. Nuclear explosions deposited radioactive debris in the geological strata, combined with an acceleration in resource extraction, population growth and energy consumption. In this light, this paper aims to explore the affective dimensions of the multiplicities of sounds that are interconnected to nuclear materialities. We argue that mediations of nuclear sounds in these forms of audio instances render nuclear sounds comprehensible and challenge existing representations of nuclear power. This paper will bring into conversation an archive of soundscapes of the nuclear epoch – for example the sound of beeping in a nuclear power plant that produces electricity, the Geiger-Müller counters that civilians used following the Fukushima-Daichii plant explosion, and the music composition by JLiat of the sonic representation of atomic testing on Bikini Atoll in 1946. Engaging with these sounds serves to make sense of the nuclear sublime and offer a possibility of connecting with the “otherness” of nuclear materials. These sonic instances also bind people in collective ecological experiences, whilst making us more attuned to voicing the modalities of a damaged planet. Sound can serve as an articulation of affects that emerge between human and non-human materialities in a damaged planet. These conceptualizations of sound are used to articulate the ways individuals or groups embody their relationships to ecological environments. Through an interdisciplinary lens, the paper aims to explore the mechanics of sound in nuclear infrastructures and devices to challenge common metaphors about nuclear energy. Through the analysis of these soundscapes, we demonstrate that exposing these entanglements between human and nuclear materialities can help us make sense of the sociocultural dimensions of living in a radioactive planet. Article received: April 15, 2021; Article accepted: June 21, 2021; Published online: September 15, 2021; Original scholarly paper
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Galloway, Kate. "Modes of Listening to Animal Avatar Cooperative Play." Journal of Sound and Music in Games 6, no. 2 (2025): 6–27. https://doi.org/10.1525/jsmg.2025.6.2.6.
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Instances of cooperative play across species present fascinating cases where soundscapes not only act upon player characters, but they also serve as productive sites to understand how players actively shape, utilize, and engage in cooperative play with the sonic environments they inhabit. Playing as a nonhuman animal offers a range of limitations and affordances to human play; however, this ability for human players to have control over additional body parts and these alternative morphologies offer unexpected in-game interactions with the things and environments of the game world. Examining the use of sound design to listen across and as different species offers insight into how players engage in multi-species and cross-species simulated listening and novel modes of listening to game world environments, offering up new possibilities in terms of what these sonic environments can communicate in gameplay as players play as and along with nonhuman animal avatars. This article examines three modes of animal avatar cooperative play that feature different degrees of nonhuman animal embodiment, sensory play, and relationality: playing with (with the hunting dog and ducks in Duck Hunt), playing as (as the mother badger in Shelter), and playing along (as the wolf cub and fawn in co-op mode in Blanc). What insights are to be gained when we reflect on the varied, telling ways in which animals, including their behavior, movement, and sensory faculties are represented through sound design in games where human players plays as, with, and in cooperation with them?
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Djimantoro, Michael Isnaeni, Widjaja Martokusumo, Heru W. Poerbo, and R. Joko Sarwono. "The Historical Soundscape Analysis of Fatahillah Square, Jakarta." Acoustics 2, no. 4 (2020): 847–67. http://dx.doi.org/10.3390/acoustics2040048.
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Understanding conceptions of the protection of cultural heritage continues to develop until now. Presently, urban historic places are not only comprehended as tangible but also include intangible dimensions. However, the conservation of cultural heritage dominantly still emphasises the visual sense more than any other senses. Thus, this paper addressed several questions on the role of human senses, the historic sonic environments, and the soundmarks of the past in examining a historical area. This paper aims to reveal the relation between sound sources and its predicted sonic environment in historic places over the time. The case study was Fatahillah Square, Jakarta, which has been documented from the 19th century until now. Some methods were carried out such as soundwalk, recalled in memory, and visual analysis. The results show that comprehensive study of multisensorial stimulus can increase a holistic understanding of historic places. Therefore, the protection of historic sites cannot only focus on the object per se, but also it must be considered to be a holistic entity. This research highlights new perspectives in analysing historical areas using combination of pictorial sources and sonic information.
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Ellul-Knight, Ben. "Listening otherwise: attuning to the caring-chaos of a refugee and asylum drop-in service." cultural geographies 26, no. 4 (2019): 505–17. http://dx.doi.org/10.1177/1474474019858719.
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This article argues for the need to develop a politics of listening attuned to the sonic environments of caring encounters. Drawing on a sonic ethnography conducted with a refugee and asylum seeker community centre in Greater Manchester, this article explores the ‘affective economies’ of listening and how everyday caring encounters come to be imbued with state affects while still holding the potential to challenge such power structures. This article articulates a politics of listening otherwise attuned to the sensuous intensities of the everyday. Sound is a visceral phenomenon, and our listening responses are always unpredictable; what creates a sense of coherence or solidarity between some could provoke feelings of unease in others, and therefore, can be equally felt as a disruptive noise. To elucidate an ordinary politics of listening, this article draws on semi-structured conversations with refugee and asylum seeker friends and attendees of the drop-in, discussions with those who work and volunteer and a narrative vignette drawn from a sonic ethnographic listening diary and field recordings.
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Ng, Yi Kee, and Kok Yoong Lim. "Sonification of weather data as a non-human-centric artistic approach." F1000Research 11 (January 26, 2022): 96. http://dx.doi.org/10.12688/f1000research.73543.1.
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Background - In the mid-20th century, the emergence of sound studies demonstrated a shift of research interest in sonic practitioners. This field gains its prevalence by expanding the boundaries of prevailing conception through proposing alternative creative approaches in sound art practices. Methods – Two methods were presented – listening and sounding to promote creative sound making. The first method, listening involves soundwalking and recording sound from the external environments. These recordings were then re-evaluated and post-processed in audio editing software. The second method, sounding involves the creation of a weather data sonification system in Pure Data environment, in which the perceptual experience from the first method was taken into consideration. Result – First method enables the genesis of creative idiosyncrasies, such as preferences and ideas through the sonic perception of environmental events. In this process, noise and weather were identified as environmental components that share similar sensible qualities. Thus, noise is a prevalent medium that inspires the creation of sound generators in the sonification system presented in this paper. The sonic output of data sonification reveals an analogical connection between weather data and sonic parameters, in which changes in data values result in changes in acoustic properties. These outputs deliver different sensibilities based on their data parameters; sonification of temperature data might suggest an alarming effect to the listener. Conclusion – The proposed methods were intricately linked, suggesting environmental events to be perceived and realized through a non-scientific perspective. By highlighting aesthetic possibilities of environmental components, this paper presents an alternative perspective in contrast with the human-centric worldview through the creation of sonic works.
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Thys, Tierney M., Jeffrey Treviño, and Nalini M. Nadkarni. "Perceptual–Acoustic Comparisons of Natural Sonic Environments: Applications for Nature-Deprived Populations." Ecopsychology 13, no. 3 (2021): 151–64. http://dx.doi.org/10.1089/eco.2021.0007.
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Rouse, Jerry W. "The significance of edge diffraction in sonic boom propagation within urban environments." Journal of the Acoustical Society of America 136, no. 4 (2014): 2223. http://dx.doi.org/10.1121/1.4900071.
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Milo, Alessia. "Reflecting on sonic environments through a structured questionnaire: Grounded theory analysis of situated interviews with musicians." Building Acoustics 27, no. 3 (2020): 203–33. http://dx.doi.org/10.1177/1351010x20911066.
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Eight participants with a musical background were asked to reflect in depth on their experience of sonic environments through a structured questionnaire answered in either oral or written form. Six of these interviews took place at the Zentrum für Kunst und Medien in Karlsruhe, and two in London, to provide contrasting comparison terms. The questionnaire invited the participants to progress in their reasoning from the description of the present sonic environment to the formulation of thoughts on the acoustic design of spaces, the educational potential of soundwalking practices and the elicitation of places with aural character from their memory. The interview transcripts were qualitatively analysed through the grounded theory method with the aim to detail the underlying mechanisms towards the appraisal or criticism for an acoustic environment. Acoustic and psychoacoustic indicators were extracted from the binaural measurements of the interview settings to provide objective grounds for comparison. Five concurrent factors were identified as involved in the quality attribution process: purpose affordance, affective impact, memory, ecological awareness and acoustic design.
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Feiereisen, Florence, and Erin Sassin. "Sounding Out the Symptoms of Gentrification in Berlin." Resonance 2, no. 1 (2021): 27–51. http://dx.doi.org/10.1525/res.2021.2.1.27.
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Scholars of gentrification often study the visual results of socioeconomic structural change in urban environments, including graffiti removal and historical reconstructions of façades, turning “ugly” factory ruins into charming residential loft spaces, etc. This article examines the gentrification of Berlin’s former working-class neighborhood Prenzlauer Berg in terms of sound. We present the Knaack Klub as a sonic case study symbolizing the erasure of the voices and culture of Berlin’s long-term residents and argue that contestations over sound, brought on by West German migrants in what can be considered a “hostile takeover” of parts of East Berlin, are a key driver of gentrification. Mining visual material including photographs, police reports, court verdicts, real estate advertisements, and street maps for acoustic clues, we are able to synthesize sight and sound, ultimately allowing us to move beyond the surface—in this case, building façades—to study the visual and sonic penetration of a gentrifying neighborhood’s intersecting public and private spaces. The study of the sonic heritage of neighborhoods or even single buildings helps us to move beyond Wilhelmine façades and the surface of courtyard living to reevaluate the relationship between urban space and community, between architectural history and policy.
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Luyckfasseel, Margot. "“How will God hear us?”: Sonic and linguistic difference among Kinshasa’s Églises des Noirs." Africa 93, no. 3 (2023): 351–70. http://dx.doi.org/10.1017/s0001972023000542.
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AbstractThis article studies how anti-Christian, ‘traditionally African’ organizations, locally known as Églises des Noirs, navigate religious competition in the Congolese capital through sonic and linguistic strategies. It focuses on the understudied Mpadist community, a ‘dissident’ branch of the better known Kimbanguist church. Mpadists mobilize diverging appreciations and meanings of sound and language to set themselves apart from the dominant Lingalaphone Pentecostal loudness of the city. In doing so, they pursue a delicate balance between Kongo traditionalism, the source of their spiritual legitimacy, rooted in colonial prophetic movements, and tactics of ‘modern’ community making in order to remain competitive within Kinshasa’s prolific religious setting. The article argues that ideologies of sound and language should be analysed within the same nexus, for they operate and are operationalized in similar ways. It therefore proposes to expand the sociolinguistic notion of indexicality to incorporate elements of the volume and modalities of sound making. The article also shows that sonic and linguistic ideologies are bound by context. In Kinshasa’s ‘low-fi’ soundscape, the indexical values of the languages Kikongo and Lingala, and of unamplified and amplified sound production, share similar features, yet they are evaluated differently in rural ‘hi-fi’ sonic environments.
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Stanyon, Miranda. "Second Nature and the Sonic Sublime." Eighteenth-Century Life 45, no. 3 (2021): 178–96. http://dx.doi.org/10.1215/00982601-9273041.
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Like other spaces of the Enlightenment, the sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, and framed by human action and habit. But can the sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to become habituated to sublimity? Taking as its point of departure the Aristotelian claim that “habit is a second nature,” this article explores the counterintuitive relationship between habit and the sublime. It focuses not on that eighteenth-century “cultivar,” the natural sublime, but on sonic sublimity, exploring on one hand overwhelming sounds, and on the other a conceptualization of sound itself as a sublime phenomenon stretching beyond audibility to fill all space. As this exploration shows, both the sublime and habit were seen as capable of creating a second nature, and prominent writers connected habit, practice, or repetition to the sublime. Equally, however, there are points of friction between the aesthetic of the sublime and philosophies of habit, especially in the idea that habit dulls or removes sensation. This is a prominent idea in Félix Ravaisson's landmark De l'habitude (1838), a text currently enjoying renewed attention, and one that apparently stems from Enlightenment attempts to explain sensation, consciousness, and freedom. Similar concerns inform the eighteenth-century sublime, yet the logic behind the sublime is at odds with the dulling of sensation. The article closes by touching on the reemergence of “second nature” in contemporary art oriented toward the sublime, and on the revisions of Enlightenment nature this involves.