It is such a rare treat to see Walter De Maria’s work in person. I hear he has been wandering around LACMA quite a bit. He came for an inspiring if underground visit in 2010 when the Resnick Pavilion was not quite open, installing The 2000 Sculpture in its luminous space, which allowed the work to float. And I caught sight of him in one of Michael Heizer’s photographs on view in BCAM, just the other day (he is featured, unidentified and with his back turned, in one of the photographs included in Michael Heizer: Actual Size). Inspiring and underground—could there be better words for De Maria, who continuously insists on the power of art and creates ways to encounter it?
The long read: Skip Lievsay is one of the most talented men in Hollywood. He has created audioscapes for Martin Scorsese and is the only sound man the Coen brothers go to. But the key to this work is more than clever effects, it is understanding the human mind
Recently I've had a lot of fun composing music using Just Intonation. As a step toward explaining my compositional approach, today I'd like to discuss a theory of why certain combinations of notes sound consonant and others dissonant. This is a controversial subject, since it depends partly on the biology of the ear and brain, and partly on culture. In fact, the list of intervals that are considered consonant or dissonant has sometimes changed over the centuries according to the fashion of the times. Here I will over-simplify the science and focus on the math underlying this particular theory.
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.
Interested firms are asked to design a synovial infrastructure to modulate a capsular index of real and artificial habitats in order to both showcase and further evolve a new breed of biomimetic lifeforms across an exotic and hyper-experiential terrain. Submissions will be judged for their success at delivering an architecture of spectral transparency; a means to integrate multiple landscapes with a modular complex of open-research spaces that peer into the vanguard of artificial intelligence design, applied biomimicry, advanced robotic ecologies, and that could be expanded infinitely into a globally—and even interplanetary—inclusive public laboratory.
– From a page at the Federal Business Opportunities clearinghouse website
*** Featuring a foreword by Pritzker Prize Winner Shigeru Ban *** Bringing together experts from research and practice, Shell Structures for Architecture: Form Finding and Optimization presents contemporary design methods for shell and gridshell...
Lors d’un récent billet sur Les Carnets de la Phonothèque, Véronique Ginouvès, nous a fait un clin d’oeil en nous lançant sur la piste d’une éventuellement contribution au portail européen de sons liés au travail, Work with sounds.
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.
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