Gotowe bibliografie tematyczne / Sound installations (art)

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Gotowa bibliografia na temat „Sound installations (art)”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Sound installations (art)"

Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk, and Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models." Postmodern Openings 13, no. 2 (June 24, 2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.

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Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is bein

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Fraisse, Valérian, Nadine Schütz, Catherine Guastavino, Marcelo Wanderley, and Nicolas Misdariis. "Informing sound art design in public space through soundscape simulation." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 4 (February 1, 2023): 3015–24. http://dx.doi.org/10.3397/in_2022_0424.

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Urban sound management often amounts to reducing sound levels with the underlying assumption of sound/noise as a nuisance. However, a reduction in sound level does not necessarily lead to a more pleasant auditory experience, especially in urban public spaces where vibrancy can be sought after. A proactive design approach that accounts for the human experience of sound environment is needed to improve the quality of urban spaces. Recent studies in soundscape research suggest that added sound and particularly sound art installations can have a positive influence on public space evaluations. Yet,

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Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (December 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.

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ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosen

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Thompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art." Leonardo Music Journal 25 (December 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.

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Black Field Plates (2014) is a series of sound installations. The series is an investigation into the politics of emergent sound composition. By imitating the ways in which natural systems organize matter, these sound installations self-organize sound and compose music.

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Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (July 7, 2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.

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Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By

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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.

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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in or

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Lacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations." Organised Sound 21, no. 2 (June 30, 2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.

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This article investigates the approaches and attributes of publicly situated sound installations which have achieved the status of permanency, and have attracted ongoing local, and even international, visitors. The article draws on international fieldwork in 2015 that documented several enduring sound installations in the United States, UK and Europe. Through an inductive process including listening exercises, sound recordings, observations and interviews, the analysis identifies three approaches to creating sound installations and ten attributes of operative sound installations. It is argued

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Dziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 114–31. http://dx.doi.org/10.2478/prm/2022-0003.

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ABSTRACT Through Play to Sound Sources—A Contribution to Research ofLidia Zielińska’s Sound Installations Sound installations have been present in Polish music since the 1960s when the first “spatial-musical compositions” were presented by Zygmunt Krauze. His innovative activities hadn’t found followers in the Polish musical community for quite a while, but in the 1980s composers started to be more and more interested in multimedia forms engaging recipients into an active participation. Among these artists was Lidia Zielińska—a composer willingly exploring the sonoristic possibilities of both

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Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.

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The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.

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Rozprawy doktorskie na temat "Sound installations (art)"

Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

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Cranfield-Rose, James (Brady). "Writing about Six Sounds Works /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.

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Miller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.

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Hull, Aaron Coates. "Corroded memories." Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.

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This thesis seeks to examine the concept of the corroded memory, an idea that has driven the development of a large body of original creative work which includes performances, compact disk recordings, audio walks and video installations. I have completed this work during the last four years of part time study as a Master of Arts - Research student, enrolled at the University of Wollongong, Faculty of Creative Arts.In this thesis I examine, analyse and provide a context for a variety of publicly presented sound andvideo works. The conceptual framework and intent, together with the compositional

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Williams, Carolyn. "Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /." AUT University, 2007. http://hdl.handle.net/10292/136.

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This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on '

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Woods, Linda Del. "Seven sacred spaces : an intertextual investigation." Thesis, Queensland University of Technology, 2002.

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This exegesis is the intertextual investigation of the work, Seven Sacred Spaces. It is a multilayered text documenting the process that occurred as both the work and the artist evolved and the dialogue that transpired between the theory, the work and the artist.

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Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Electronic Thesis or Diss., Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913.

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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette d

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Silva, Lilian Campesato Custódio da. "Arte sonora: uma metamorfose das musas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-17062008-152641/.

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Esta pesquisa tem o objetivo de realizar um mapeamento de questões presentes em um conjunto de obras que, a partir de meados da década de 1970, vêm se agrupando sob o termo - arte sonora. Para tanto, este trabalho parte de uma aproximação com o repertório, na medida em que realiza um levantamento e análise, por meio de bibliografia, discografia, catálogos de obras e outras fontes, abordando o trabalho de vários artistas que se destacam nesse âmbito, bem como apontando diversas questões extraídas desse primeiro passo. A partir daí, constatou-se que esse repertório é bastante amplo e divergente,

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Greated, Marianne. "Painting in a sonic environment." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.

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The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one

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Centola, Nicolau André Campanér [UNESP]. "Anthemusa: o som e o acaso em ambientes sonoros." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139563.

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Submitted by NICOLAU ANDRE CAMPANER CENTOLA null (centola.nicolau@gmail.com) on 2016-06-27T12:40:35Z No. of bitstreams: 1 doutorado_final_Nicolau_Centola.pdf: 4044594 bytes, checksum: 9895713d712e6a74c342590dd2836715 (MD5)<br>Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-06-28T16:53:47Z (GMT) No. of bitstreams: 1 centola_nac_dr_ia.pdf: 4044594 bytes, checksum: 9895713d712e6a74c342590dd2836715 (MD5)<br>Made available in DSpace on 2016-06-28T16:53:47Z (GMT). No. of bitstreams: 1 centola_nac_dr_ia.pdf: 4044594 bytes, checksum: 9895713d712e6a74c34

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Książki na temat "Sound installations (art)"

Auinger, Sam, and Erwin Stache. Bonn hoeren: Stadtklangkunst = urban sound art. Bonn: Beethovenstiftung, 2012.

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Hannover, Kunstverein, ed. David Claerbout: Video works, photographic installations, sound installations, drawings 1996-2002. Brussels: A Prior, 2002.

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Ganter, Jo. Drawing sound. Woodstock, NY: Woodstock Byrdcliffe Guild, 2017.

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Minard, Robin. Robin Minard, 4: Vier Räume/vier Installationen = four spaces/four installations = quatre espaces/quatre installations = quatro espacios/quatro instalaciones. Heidelberg: Kehrer Verlag, 2004.

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Jade, Keijzer, ed. Paul Panhuysen: Long strings, 1982-2011. Eindhoven: Stichting Het Apollohuis, 2011.

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Petitgand, Dominique. Dominique Petitgand: Installations (documents). Paris?]: Éditions MF, 2009.

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Celant, Germano. Art or sound. Milano: Fondazione Prada, 2014.

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Eller, Ulrich. Ulrich Eller: Konzert für Schneckenklavier mit Seebrücke & Zeichnungen. Saarbrücken: Pfau, 2007.

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Eller, Ulrich. Ulrich Eller: Neuer Berliner Kunstverein 1992, Stadtgalerie Saarbrücken 1993. Saarbrücken: Die Stadtgalerie, 1992.

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Albrecht, Hartmut, and Rosina Huth. Lautsprecherei: Re, sound - art - design. Stuttgart: Merz & Solitude, 2007.

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Części książek na temat "Sound installations (art)"

Martins, Tiago, João Correia, Sérgio Rebelo, João Bicker, and Penousal Machado. "Portraits of No One: An Interactive Installation." In Artificial Intelligence in Music, Sound, Art and Design, 104–17. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43859-3_8.

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Ocampo, Rodolfo, Josh Andres, Adrian Schmidt, Caroline Pegram, Justin Shave, Charlton Hill, Brendan Wright, and Oliver Bown. "Using GPT-3 to Achieve Semantically Relevant Data Sonificiation for an Art Installation." In Artificial Intelligence in Music, Sound, Art and Design, 212–27. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-29956-8_14.

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Vesanen, Teemu, Jari Shemeikka, Kostas Tsatsakis, Brian O’Regan, Andriy Hryshchenko, Eoin O’Leidhin, and Dominic O’Sullivan. "Digital Tools for HVAC-Design, Operation and Efficiency Management." In Innovative Tools and Methods Using BIM for an Efficient Renovation in Buildings, 63–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04670-4_5.

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AbstractThe project BIM4EEB aims also to develop digital tools to support the design, procurement, installation, post-renovation operation, user feedback and profiling of building automation systems for HVAC. This helps supporting decision making, interaction with tenants and owners during the design, construction, and post-renovation operation phases. The development of the tools will be underpinned by a sound methodological approach. Work will include considerations of interoperability with Smart City technology of automation systems for HVAC. Specific objectives will be related to the development of the following software tools: A software component supporting the automatic generation of the layout for control systems emphasising on user preferences and including constraint checking of BAC-topologies against selected building codes. Data and information stored in BIM models are used to generate the initial recommendations and constraints and to deliver the final installation instructions. A software component allowing the seamless specification and evaluation of user comfort and systems performance. The underpinning information model will merge data sources from BIM (dimensional data) and BAC (factual data). An energy-refurbishment assessment tool, for bridging the gap between commercial simulators and the BIM management system. A user-profiling component allowing to compare expectations of tenants and owners regarding comfort and systems’ performance against monitored parameters. The results of this software component can be used in the pre- and post-renovation phases to update the content of BIM systems and thus to improve their accuracy and to reduce efforts for data acquisition and verification.

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"Sound Installations and Spatialization." In Women, Art, and Technology. The MIT Press, 2003. http://dx.doi.org/10.7551/mitpress/7274.003.0029.

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Davidson, Michael. "Siting Sound." In Distressing Language, 51–71. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479813827.003.0003.

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The drawings and sound installations of Christine Sun Kim make visible and tactile sounds that as a deaf person from birth she cannot hear but that enable her listeners to hear through a deaf optic. As such, her work not only distributes senses but also redistributes cultural values associated with sound and voice, challenging the idea that d/Deaf culture and the world of deaf persons is silent and that sound is necessarily an acoustic phenomenon. Her work also calls into question the strictly textual and auditory models of poetry by blurring boundaries between sound and silence, deaf and hearing, visual art and poetics. In discussing the issue of “siting” sound, I refer to the more recent photographic work of Christian Marclay, in which he foregrounds the image of sound as represented in several forms of vernacular visual media.

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"Sound in the Audiovisual Media Arts." In Sound in Indian Film and Audiovisual Media. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463724739_ch11.

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The eleventh chapter is dedicated to the study of the creative practices of sound in other audiovisual media art productions such as interactive installations, digital media artwork, new media, video and sound art. Several artworks, projects, and initiatives are discussed in this chapter to draw an overview of the nascent but developing field of sound art in the Indian subcontinent due to globalization, planetary mobility, and media community exchanges. Focus is given to young artists who are experimenting with sound in or outside of cinematic contexts, and how these independent practices expand the scope of sound and listening in the contemporary (media) arts fields, challenging their inherent Eurocentrism.

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Hildebrand, Jayne. "Coda." In Novel Environments, 181—CCP17. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192888471.003.0006.

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Abstract The coda explores how the Victorian affinity between descriptive practice and ecological thinking extends to a more recent historical moment by turning to contemporary environmental sound art. Examining compositions and installations by Hildegard Westerkamp and Anna Winderen, this coda argues that these environmental sound artists share with Victorian novelists an aspiration to create vividly perceptible virtual worlds as a means of rendering concrete and palpable the abstract concept of an environment. In their sonic foregrounding of environmental phenomena ordinarily relegated to the background, these artists employ descriptive practice as a means of illuminating the modern concept of “the environment”—a global totality that encompasses the whole of the natural world.

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Lippman, Alexandra. "Cash." In Paid, edited by Bill Maurer and Lana Swartz. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035750.003.0009.

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This chapter juxtaposes two artistic interventions into money: one, an “occasional coffee shop” where patrons are exhorted to “throw $$ on the floor;” the other, the work of artist MáximoGonzálzez, who creates installations out of cut and folded decommissioned banknotes. This juxtaposition allows the author so discuss the relationships among money, waste, art and payment. Venturing into “Squamuglia,” a pop-up coffee shop and/or artistic performance in Los Angeles presents an occasion to reflect on physical banknotes, art and philosophy with Squamuglia’s host, Ben Turner. Merging sound, objects, refuse, trees and branches, plastic, wooden beams and other items, Turner’s coffee shop went through diverse, always different iterations, each one, however, centered around serving espresso coffee drinks, and an exhortation to pay—or not—by throwing money on the floor. Ben would collect the money, which would usually have become dirty, and wash it with soap and a sponge before recirculating it. Yet he felt that this made the bills less “vibrant.” Money’s dirtiness or vibrancy also has to do with its relationship to the state, a theme explicit in González’s art.

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Rocamora, Isabel. "Performance, Moving Image, Installation: The Making of Body of War and Faith." In Cinematic Intermediality, 176–84. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0013.

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In this chapter, moving image artist Isabel Rocamora reflects on the thematic, aesthetic and philosophical concerns that drive her intermedial art practice. The essay traces the ways in which core elements of her performance work – gesture, place, temporality and presence – in turn inform and are transformed by her film and video installations. A discussion of the ethical dilemmas that motivate Body of War (2010) and Faith (2015) – namely, military violence and ethnic segregation – opens up problems of identity and alterity as well as questions of form, structure and register. To address these, Rocamora places the illuminating philosophies of Martin Heidegger and Emmanuel Levinas into dialogue with her own directorial approach to casting, location, performance, cinematography, sound design and exhibition architecture. The aim of her moving images, she explains, is to draw out the personal from the collective in mise en scènes that dislodge performative action to expose ontological presence. The creative means, the essay concludes, emerge from the productive strife between the media.

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Cerwén, Gunnar. "On the Intersection Between Speaker Installations and Urban Environments." In Advances in Civil and Industrial Engineering, 23–45. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3637-6.ch002.

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This chapter deals with speaker installations and the potential to use such installations for designing soundscapes in cities. Through employment of a designer's perspective, eight intersections between speaker sounds and the environment in which they are installed are brought forward and discussed. The intersections were originally deduced by the author theoretically but have subsequently also been examined in relation to existing speaker installations. This chapter describes and exemplifies each of the eight intersections, which have been denoted as sound sculpture, sound space, atmospheric design, sound and light, sound binocular, sound postcard, interactive event, and retuning of soundscape. Discussions in the chapter cover the role of speaker-induced sound in relation to the notion of acousmatics as well as urban design.

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Streszczenia konferencji na temat "Sound installations (art)"

Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.

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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive in

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Baglione, Melody, Dale Short, Caitlin Correll, and David Tan. "Developing Installations and Activities for an Interactive Light Studio at the American Sign Language and English Lower School." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-86438.

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Students from The Cooper Union for the Advancement of Science and Art created new installations and activities for an Interactive Light Studio for pre-kindergarten students at The American Sign Language and English Lower School (P.S. 347) in New York City. The studio creates ways for both deaf and hearing students to explore light and sound while simultaneously promoting science and technology to students at a young age. Improvements to the studio in the 2011–12 school year strove to further the educational mission of the project while introducing new and exciting interactive multimedia instal

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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with expe

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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics

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Drymonitis, Alexandros, and Dimitrios Charitos. "ATHsENSe: A Multisensory Outdoor Installation." In ICAD 2021: The 26th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2021. http://dx.doi.org/10.21785/icad2021.035.

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The ATHsENSe installation is a four part AV installation based on environmental data from the city of Athens. It comprises four different installations: a visualization projection of the data, a sound installation where the data are being sonified, an installation comprising eight LED displays projecting texts from users of the web app of ATHsENSe, and a light installation reflecting the sound levels of a central point of Athens. The second of the four installations is presented here where data concerning CO, CO2, humidity and others, together with texts provided by the web app users, are bein

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Murphy, Jim, Dugal McKinnon, and Mo H. Zareei. "Lost Oscillations: Exploring a City’s Space and Time With an Interactive Auditory Art Installation." In The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.019.

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Lost Oscillations is a spatio-temporal sound art installation that allows users to explore the past and present of a city’s soundscape. Participants are positioned in the center of an octophonic speaker array; situated in the middle of the array is a touch-sensitive user interface. The user interface is a stylized representation of a map of Christchurch, NewZealand, with electrodes placed throughout the map. Upon touching an electrode, one of many sound recordings made at the electrode’s real-world location is chosen and played; users must stay in contact with the electrodes in order for the s

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Fehr, Jonas, and Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.

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Foo, Louise, and Jonas Fritsch. "Eleven Movements of the Cryoscape – Ecological Explorations in Sonification for Affectively Engaging with Climate Change." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-54-full-foo-et-al-movements-of-the-cryoscape.

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In this paper we present the sound installation Eleven Movements of the Cryoscape which was created for the new Kangiata Illorsua – Ilulissat Icefjord Centre in Greenland. The installation is a near real-time sonification of the movement and melting of the Inland Ice, consisting of an array of eleven speakers, each transmitting from a different location in Greenland. The installation portrays the Inland Ice as a living, breathing, evolving organism in the age of the anthropocene, where humankind has made its mark on the very changes that occur to the natural sounds over time. The installation

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Bundin, Andrey, and Natalia Fedorova. "Ether Island: Investigating sound movement correlations in a generative interactive installation." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.47.

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Mazzocchio, Mattia. "Design and Implementation of an immersive, cooperative Net Art installation using Web Csound." In 2023 4th International Symposium on the Internet of Sounds. IEEE, 2023. http://dx.doi.org/10.1109/ieeeconf59510.2023.10335251.

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Raporty organizacyjne na temat "Sound installations (art)"

Crocker, Malcolm, P. Raju, and S. Yang. NPR199201 Standard Sound Power Level Specification and Measurement Procedure. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), October 1992. http://dx.doi.org/10.55274/r0011640.

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These guidelines describe a method for in-situ determination of the sound power level of the noise sources in indoor or outdoor environments for gas compressor station equipment using sound intensity measurements. The guidelines contain information on instrumentation, installation and operation of the source, procedures for the selection of a measurement surface, procedures for the sampling of sound intensity on the measurement surface, procedures for the calculation of sound power level, and techniques that can be used to qualify the measurement environment. Typical results obtained for diffe

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Stevens, R. D., B. V. Chapnik, and B. Howe. L51960 Acoustical Pipe Lagging Systems Design and Performance. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), October 1998. http://dx.doi.org/10.55274/r0010392.

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Noise levels radiated from the exterior of a pipe wall can significantly contribute to the overall noise levels on the site of a gas plant and at neighboring properties. The noise inside the piping is generated both by the gas compressor itself, and by the flow of gas through valves, elbows and fittings. Sound inside the pipe couples to the pipe wall by exciting vibration modes, some of which are radiated from the exterior of the pipe into the air. Piping is geometrically circular, which provides it with considerable increased stiffness versus a flat plate, and thereby assists in its ability t

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Wei, Fulu, Ce Wang, Xiangxi Tian, Shuo Li, and Jie Shan. Investigation of Durability and Performance of High Friction Surface Treatment. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317281.

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The Indiana Department of Transportation (INDOT) completed a total of 25 high friction surface treatment (HFST) projects across the state in 2018. This research study attempted to investigate the durability and performance of HFST in terms of its HFST-pavement system integrity and surface friction performance. Laboratory tests were conducted to determine the physical and mechanical properties of epoxy-bauxite mortar. Field inspections were carried out to identify site conditions and common early HFST distresses. Cyclic loading test and finite element method (FEM) analysis were performed to eva

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