Noise pollution is a serious problem in many cities. NoiseTube is a research project, started in 2008 at the Sony Computer Science Lab in Paris and currently hosted by the BrusSense Team at the Vrije Universiteit Brussel, which proposes a participative approach for monitoring noise pollution by involving the general public. The NoiseTube mobile app extends the current usage of mobile phones by turning them into noise sensors enabling citizens to measure the sound exposure in their everyday environment. Furthermore each user can participate in creating a collective map of noise pollution by sharing geolocalized measurement data with the NoiseTube community.
The Landesgartenschau Exhibition Hall is an architectural prototype building and a showcase for the current developments in computational design and robotic fabrication for lightweight timber construction. Funded by the European Union and the state of Baden-Württemberg, the building is the first to have its primary structure entirely made of robotically prefabricated beech plywood plates. This newly developed timber plate construction is made possible through integrative computational design, simulation, fabrication and surveying methods resulting not only in a highly performative and resource efficient plate shell structure but also in innovative architecture.
This article addresses contemporary concepts regarding how we attune to sound within a fear context and discusses the potential impact of these ideas upon sound design, specifically with regards to evoking disorientation in survival horror computer games. Relevant theory is distilled to consider an ecological perspective of sound experience within a survival horror game context. We then discuss how this approach will likely impact upon future practice as we, as designers, strive to develop sound production and implementation techniques that have increasingly greater potential to unnerve, panic and otherwise terrify even the most hardcore of gamers.
A Gömböc is a strange thing. It looks like an egg with sharp edges, and when you put it down it starts wriggling and rolling around with an apparent will of its own. Until quite recently, no-one knew whether Gömböcs even existed. Even now, Gábor Domokos, one of their discoverers, reckons that in some sense they barely exists at all. So what are Gömböcs and what makes them special?
Entropy, an international, peer-reviewed Open Access journal.
Complex Systems, when seen as statistical systems of strongly interacting components, are far from being understood on a fundamental level. These systems cover an immense range of important phenomena in the natural-, life- and social sciences. In many of these fields an incremental understanding of underlying principles would mean significant progress. The role of statistical mechanics in understanding Complex Systems is fundamental, in particular one has to understand to what extend thermodynamical descriptions are sensible for specific systems, and where new paths have to be taken to achieve reasonable ways to manage the typically large numbers of variables and parameters. The role of entropy has to be understood for non-ergodic Complex Systems, and new ways to practically characterize high dimensional phase diagrams have to be explored. Big progress has been made in network theory, one of the fundamental building blocks of strongly interacting systems, however a new generation of problems lies ahead: the understanding of mutual influences of different networks linking the same set of nodes (multiplex networks), or the understanding of networks of networks. The purpose of this special issue is to try to localize the status quo of the statistical mechanical understanding of Complex Systems and its applications, and to sketch innovative paths into the future, both in fundamental understanding and applications.
Hakanaï by Lyon based studio Adrien M / Claire B is a solo choreographic performance that unfolds through a series of images in motion. In Japanese Hakanaï denotes that which is temporary and fragile, evanescent and transient, and in this case something set between dreams and reality. While widely associated with nature, the term is now often used to elicit an intangible aspect of the human condition and its precariousness. It encompasses two elements: that concerning the human being as well as that related to dreams. This symbolic relationship is the foundation of the dance composition in which a dancer gives life to a space somewhere between the borders of imagination and reality, through her interactions with the images she encounters. The images are on-stage animations that move in physical patterns according to the rhythm of the live sounds that they follow. The performance’s outcome is the revelation of a digital installation to its audience.
Ever since the first human stacked one brick onto another, architecture has been concerned with creating immovable things. Even with the rise of smart interconnected environments – where lights, heating, doors, and other ...
As multipurpose as a Swiss army knife, shunted back and forth every which way between art and architecture, he is at once an alibi, a foil, a spiritual father, a defeated ideologue whose scars are an atonement (the deafness, whether real or feigned – we’ll come back to it later) and rather handy… a paper architect, an ideologue, the kind of brand that keeps on giving, still legitimized by the French establishment, that funny alter cocker Yona Friedman® with the slight Slavic accent that makes you smile, whose foibles everyone forgives, since they’re so charming and “inoffensive.”
Yona Friedman® is perfectly adaptable… inflatable balloons to mimic the Spatial City, floating cartons filed with salon-utopian political phraseology, pathetic and pathological. You see them everywhere: GPS helicopters made for a militarized robot city… everything in Yona Friedman® is good for something, and those who instrumentalize him don’t see any connection with the anarcho-scientism underlying his thinking and production.
Welcome to the final installment of Hearing the UnHeard, Sounding Out‘s series on what we don’t hear and how this unheard world affects us. The series started out with my post on hearing, large and small, continued with a piece by China Blue on the sounds of catastrophic impacts, and Milton Garcés’ piece on the infrasonic world of volcanoes. To cap it all off, we introduce The Sounds of Science by professor, cellist and interactive media expert, Margaret Schedel.
“If you could only play a record once, imagine the intensity you’d have to bring into the listening.” – Avant-garde guitarist Derek Bailey
In the 1960s, experimental music was all about the moment. Improvisation was common, and compositions often involved interpretation and chance; no two performances were alike. As a result, some musicians disdained commercially-released recordings, since a record can’t change—it freezes music intended to be open and indefinite."
Machinery, traffic and other people make our existence loud as hell – but can we use technology to retune the urban world?
I have heard the future, and it sounds like dog food sliding slowly out of a can. In Terminator 2, that's the sound the film-makers used when the liquid T-1000 walked straight through the bars of a prison cell.
Should you live long enough to get your own Tie fighter, you will (according to Star Wars sound designer Ben Burtt) be tooling around emitting the sound of a "drastically altered elephant bellow". Perhaps more than any other professionals – well, certainly more than those who don't spend their office hours pulling chickens apart in front of a microphone – these designers have considered what cities might sound like in years to come.
Nature Sound Map provides a wonderful way to explore the soundscape of the natural world. On the Nature Sound Map you will find placemarks containing recordings of nature. The recordings have been added to the project by professional sound recordists. Some of the recordings you will find feature the sounds of just one animal, the sounds of a jungle, sounds of a marsh, sounds of a storm, or sounds of oceans and rivers.
The eighth volume of The Funambulist Pamphlets that gathers and edits past articles (as well as additional illustrations) of the blog about the philosophical-poetic-artistic-architectural work of Arakawa, Madeline Gins and their Reversible Destiny Foundation is now officially published by Punctum Books in collaboration with the Center for Transformative Media at Parsons The New School. You can either download the book as a PDF for free or order it online for the price of $17.00 or €15.00. This price is higher than usual and we apologize for it, but this specific pamphlet required its illustrations to be in color, hence this punctual raise within the series. Click here to see the other volumes of The Funambulist Pamphlets.
SoundShapes by Ricky Van Broejhoen is a collection of sculptural objects digitally created based on the patterns produced by a Chladni plates stacked together to create intricate beautiful pieces, allowing the spectator to experience visually the beauty of sound.
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