Sonic Studies Research Papers - Academia.edu (original) (raw)

The autonomous sensory meridian response (ASMR) is a sensory phenomenon, sometimes referred to as a "brain orgasm," which involves pleasant tingling sensations in a body in reaction to certain stimuli. This article analyzes ASMR within the framework of ideas put forward by the musique concrète that offered new sensibilities of musical expression and promoted attentive listening to matter. At the same time, we treat sonic practices of ASMR as inspired by the concepts developed by New Materialism, especially the notions of physicality and materiality of sound recognized within the ontology of its vibrational force.

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- Music, Contemporary Art, Sonic Art, Vibrations

Tracciare le possibili traiettorie di autorappresentazione attivate dall'ascolto per indagare i confini identitari, scoprire le storie che il territorio conserva e svela attraverso le pratiche quotidiane, attraverso le tracce sonore che segnano gli usi dello spazio. È così che la registrazione ambientale (field recording) lavora sul contesto: raccoglie frammenti privati e li ricompone in una storia collettiva, in una narrazione che è scritta dal pubblico e ne preannuncia lo sviluppo endogeno, stimolandone l'autogoverno. Seguendo questo filo l'invito costante è rivolto a interrogare in chiave identitaria la definizione di «patrimonio culturale intangibile». Sarà necessario allora forzare le possibilità offerte dalla passeggiata sonora (soundwalk) come pratica di deriva, per un rinnovato inquadramento estetico e progettuale. Tale attitudine richiama a quegli strumenti partecipativi che si pongono l'obiettivo di raggiungere una prospettiva comune, capace di accogliere le differenze, ammettere la coabitazione tra identità, rileggere le pratiche quotidiane e gli usi in termini di presidio e di cura. Ci troviamo a cavallo tra marginale e liminale, ovvero tra incapacità di autorappresentazione e nuove istanze di resistenza, di sovversione dell'ordine costituito; o ancora tra attori «muti» e nuovi promotori di «gentrificazione». Ed è proprio su questo confine che il paesaggio sonoro si presenta come l'arena dei confronti e dei conflitti identitari, come la metafora viva di uno scontro continuo tra poteri e sistemi di valori. Se esiste infatti un parallelo tra coscienza di luogo e consapevolezza acustica, indagare le modalità per far maturare consapevolezza all'ascolto ci porta a una riflessione più ampia sul «diritto alla città» e sulla costruzione di «beni comuni». Ci spinge a riconsiderare quei beni immateriali capaci di penetrare e condizionare la nostra percezione e le nostre pratiche quotidiane. L'ascolto si rivela pratica essenzialmente relazionale, laddove il lavoro con e attraverso l'ambiente sonoro diventa occasione per scardinare quelle rappresentazioni su cui si fonda l'incapacità di trasformazione. Vogliamo esplorare una prospettiva tanto distante quanto estranea attraverso cui leggere, coinvolgere e lasciarci coinvolgere dalle comunità locali, per interpretare e orientare insieme un ascolto attivante e attivatore del tessuto sociale. Costruire un archivio sonoro dove ogni abitante potrà riconoscersi e raccontarsi, sentendosi parte di una collettività. L'ascolto e la registrazione diventano strumenti di trasformazione dall'interno, luoghi di discussione dove scrivere collettivamente uno statuto provvisorio (e inter-soggettivamente riconosciuto) dell'ambiente sonoro, che sappia guidare consapevolmente le trasformazioni della città e del territorio.

- by Nicola Di Croce
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- Ethnography, Urban And Regional Planning, Sound Art, Sonic Studies

Purpose – The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound. Design/methodology/approach – Using four mutually exclusive and collectively exhaustive types of non-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields. Findings – The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds. Research limitations/implications – The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding. Practical implications – The paper identifies an unexploited terrain of possibilities for the ...

- by Anders Bonde
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- Sound Design, Sonic Studies, Advertising and Branding
- by Chris Arning
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- Semiotics, Cognitive Psychology, Cognitive Science, Musicology

La Ciudad de Buenos Aires se encuentra catalogada como una de las ciudades más ruidosas de la región latinoamericana. Esto genera problemas en la vida cotidiana cuya naturaleza raramente se atribuye a la experiencia auditiva, lo cual dista de permitir una conciencia y una reflexión en torno al paisaje sonoro que construimos y del cual formamos parte. Es por eso que en el presente trabajo se desarrollan los antecedentes y lineamientos teóricos, epistemológicos y metodológicos que guían una investigación en curso centrada en dar cuenta del paisaje sonoro de la Ciudad de Buenos Aires. Tomando este referente empírico, se desglosan los diversos objetivos que atraviesan esta investigación, que se alejan de conside-rar al sonido sólo como un hecho físico sino más bien como un hecho social, sobre el cual se construyen categorías que son factibles de ser deconstruidas a través del trabajo antropológico.

- by Facundo Petit
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- Sonic Studies, Antropologia Urbana, Anthropology of Sound, Sonic Anthropology

While the sonic logo for McDonald’s i’m lovin’ it campaign has been widely distributed and highly praised, little is known about the actual characteristics and meaning potentials of this particular musical discourse. From the perspective of multimodal discourse analysis, this paper seeks to unravel the discourse of the sonic logo as it appears in a collection of 475 commercials from the first fifteen years of the campaign. By adopting an otherwise rarely found diachronic perspective, the examination reveals how the sonic logo changes over time and thereby produces alternating meaning potentials. To account for these changes, the paper offers the concepts of alteration and adaptation. Based on these concepts, the paper reveals novel insights into how music can perform a determinative role in the multimodal discourse. In addition to the traditional functions of sonic logos, the music serves to engage viewers in appropriating the slogan of the campaign. This process is specified as the production of an emotive, which imply an instigation of an emotional engagement – related to current values and ideologies – beyond the more familiar capacities of music to express and induce emotions.

Contemporary Indian films, in their essentially digitalised realms, incorporate techniques such as the location-based multitrack “sync” recording, and surround sound design that reorder the organization of cinematic sound. These practices contrast with the earlier mono- or stereo formats by reconfiguring the linear construct of a soundtrack to produce a spatially evocative sonic environment that engages the listener with a more life-like auditory experience of the fictional site. Using significant examples from post-2000 Indian films, this article shows how earlier production practices are being replaced by “sync” sound recording and surround sound mixing with a richly spatial arrangement of site-specific ambience. The article argues that these layers of ambient sounds lead to audiences establishing their embodied experience of presence in regards to the fictional site via auditory spatial cognition and immersion in a cinematic soundscape. By situating contemporary sound production practices within the various trajectories of Indian cinema, this article contributes to the broader field of research on the key developments in constructing spatial environments for cinema.

- by Budhaditya Chattopadhyay
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- Sound and Image, Art, Film Sound, Film Music And Sound
- by Navaneetha Krishnan
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- Sonic Ethnography, Sonic Studies

This paper will discuss acousmatic music as a simultaneously musical and narrative art form. Acousmatic narrative will be considered from the dual perspectives of the composer and the listener, and we will investigate some of the differences between these, and some of the mechanisms at play. A case will be made for the act of acousmatic composition as an ideal site for exploration and research into narrative processes. The composition and reception of the author's work Dechirure will be used as an illustrative example.

- by James Andean
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- Narrative, Electroacoustic Music, Artistic Research, Acousmatic

A nozzle is a relatively simple device that consists of a specifically formed tube that allows hot gases to flow through it. However, the mathematics that describes the nozzle's operation necessitates some thought. Nozzles are available in a wide range of forms and sizes. A fixed geometry convergent nozzle is common on simple turbojets and turboprops. A co-annular nozzle is commonly used in turbofan engines. The core flow exits the central nozzle, while the annular nozzle exits the fan flow. The mixing of the two flows increases thrust, and these nozzles are also quieter than convergent nozzles.
A variable geometry convergent-divergent CD nozzle is required for afterburning turbojets and turbofans. The flow in this nozzle first converges down to the smallest area, or throat, before expanding via the divergent segment to the right exit. These nozzles are heavier than fixed geometry nozzles because of the variable geometry, however variable geometry allows more efficient engine running across a larger airflow range than a conventional fixed nozzle. Nozzles are also used in rocket engines to accelerate hot exhaust and generate thrust. A fixed geometry CD nozzle is used in rocket engines, having a significantly greater divergent section than is required for a gas turbine.

- by IJRAME Journal
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- Mechanical Engineering, Sonic Studies, Compressible Flow, Mach Number
- by Patrick Eisenlohr
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- Anthropology of Music, Soundscape Studies, Sound studies, Voice (Music)

This paper aims to elaborate on the sonic universe as and of zoe. Concerning Rosi Braidotti’s quotation from George Eliot’s Middlemarch, two entangled sides of zoe’s sounds will be discussed, which are the roar and the silence. From a posthumanist and new materialist perspective, the relationship between them will be tackled as different sorts of sounds and sonic potentials. I grasp their difference as different capacities of growing and becoming-minoritarian; meaning that the silence does not refer to the absence of sound, and thus the lessening of life as zoe. The significance of vibrations and sounds in terms of getting into transformative contacts with zoe and coexistence is the main argument within my discussion. Particularly the silence as a transgressive force and an encompassing medium bears ecological importance in this sense.

- by Bengi Çakmak
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- Silence, Sonic Studies, New Materialism, Rosi Braidotti

talk delivered at the Einstein Forum, Potsdam, Germany, on 29 January 2015 and later published in a different version in The Routledge Companion to Sounding Art, edited by Marcel Cobussen, Vincent Meelberg, and Barry Truax (Routledge,... more

- by Hillel Schwartz
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- Acoustics, Quantum Physics, Nonsense, Sound studies
- by Michael Uebel
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- Medieval Literature, Medieval Studies, Sonic Art, Sound studies
- by Azalea Tang
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- Hinduism, Sonic Studies, Vedic Studies
- by Daniele V. Filippi
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- Music, Early Music, Renaissance music, Tomás Luis de Victoria

This article attempts to explore the reception of Hindustani film music in Malabar, its sonic vernacularization through the Mappila songs, with an extended discussion over the camaraderie of renowned music director M.S. Baburaj and famous... more

A b s t r a c t The article draws attention to the important role of the senses in the historical research. It focuses on the problem of hearing the past and on sonic history as a subdiscipline of historical studies. The author stresses that sonic history can be used to raise awareness of the destructive force of sound that might lead to sound-death (mass killing by the use of sound and vibrations caused by sonar devices). The problem is contextualized within the framework of environmental history inspired by posthumanism and non-anthropocentric approaches to the past.

- by Jarosław Jaworek
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- Posthumanism, Animal Studies, Environmental History, Marine Ecology
- by Alexander C . T . Geppert
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- Sound, Spaceflight, Sonic Studies, Outer Space History

This article examines the theoretical, methodological, and practical possibilities of sound for qualitative research. Moving
from an understanding that sounds are a form of vibrational affect, the author argues that sound can be articulated
as resonance and knowledge in ways that are significant to human experiences of sensation and signification. These
conceptualizations of sound are then used to articulate processes of data collection, analysis, and representation for a
sounded methodological practice called sonic ethnography. In keeping with the tone and tenor of this special issue and the
developing field of sound studies, the third section considers whether sounds need to be categorized as “data” to be of
value to qualitative researchers. A final brief section describes the construction and sounds presented in the accompanying
sound/work that serves as a performative example of how sounded representations of sonic ethnography can function in
practice. The associated sound/work can be found here: https://soundcloud.com/vibrationalaffect/gershon.

- by Walter Gershon
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- Ontology, Education, Ethnography, Ethnography

This dissertation probes, connects and applies current research into sound, sonic semiotics and ostranenie (defamiliarization/enstrangement). The aim is to deploy the use of shock, counterpoint and incongruity to elicit the attention of a listener to trigger consciousness, provocation and thought, initiating a new perspective on the subject matter. Developing three short sonic works, I activate practice-led research methods to probe the use of sound, incongruity, defamiliarization and imagination to increase the social consciousness of the listener.

- by Mick Winter
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- Media Studies, Sound, Sonic Studies
- by Walter Gershon
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- Teacher Education, Race and Racism, Curriculum Studies, Sound studies

En 2017 se cumplen 250 años de la promulgación del Fuero de Población y fundación de las Nuevas Poblaciones de Sierra Morena y Andalucía, dado por Real Cédula de S.M. el Rey Carlos III de España el 5 de julio de 1767.
Se ponía así en marcha uno de los proyectos más ambiciosos para llevar a la práctica las reformas políticas, económicas y sociales que se postulaban desde la Corte por los ministros e ilustrados españoles para sacar a la nación de la decadente situación en la que se encontraba a principios del siglo XVIII mediante el fomento de la agricultura, la industria y el comercio.
Nuevos pueblos, perfectamente planificados, con una ordenación urbanística y territorial totalmente funcional aplicada al fomento de modernos sistemas de producción, y creados para ser modelo por el que se irradiasen las reformas y los aires de modernidad que traía consigo el Siglo de las Luces.
Tras la experiencia acumulada en los ocho congresos sobre Nuevas Poblaciones celebrados entre 1983 y 2012 y teniendo en cuenta la ocasión especial que brinda este 250 Aniversario del Fuero de las Nuevas Poblaciones, se propone a la comunidad científica la celebración de un Congreso Internacional que permita profundizar en los orígenes y singularidades de esta iniciativa ilustrada para establecer una sociedad agraria modelo en el sur de España.
Los objetivos de este encuentro serán los de profundizar en el fenómeno de las colonizaciones agrarias en la Europa del siglo XVIII, con especial atención a las Nuevas Poblaciones de Sierra Morena y Andalucía; analizar las disposiciones normativas que les dieron origen; estudiar los movimientos migratorios de colonización, tanto a nivel interno en cada país como de carácter internacional; conocer la praxis de estas iniciativas a través del devenir de sus protagonistas; ahondar en el urbanismo colonial, la ocupación del territorio y las manifestaciones artísticas; abordar el papel de la mujer y la unidad familiar en la sociedad colonial; el impacto y repercusión que despertaron en los estamentos y la sociedad en general; así como la trascendencia política, social y cultural del fenómeno colonizador.

- by Javier Marín-López
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- Church Music, Musicology, Enlightenment, Colonialism
- by Walter Gershon
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- Ethnography, Qualitative Methods, Sound studies, Qualitative Research

Although other disciplines have explored sound as more than oral language, music, or noise, educational scholarship exploring everyday soundscapes still has room to grow. In this article, a team of transdisciplinary scholars from education, writing and rhetoric, and ethnomusicology explore new possibilities for sound in research and teaching by examining a cross-course assignment grounded in the sonic experiences of a residential, living-learning college community. Through examining student-produced compositions, we introduce a number of relevant insights into the relationships between space, community, and a pedagogy of aurality.

- by Cassie J Brownell
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- Space and Place, Sonic Art, Community Ecology, Sound studies

With the proliferation of the iPod and related audio mobile technologies in our daily experiences, Shuhei Hosokawa’s “The Walkman Effect” (1984) gains new significance. While exploring the locative aspects of these technologies for media art, I elaborate on Hosokawa’s idea of a “secret theatre” by paralleling it to some compelling concepts in audio (culture) studies, such as Michael Bull’s “auditized looking,” Elisabeth Weis’ “écouterism,” Denis Hollier/Jean Paul Sartre’s “auditory gaze,” and Steven Connor’s “modern auditory I.” As case studies, I focus on three performative audio walks that all took place in train stations around 2012-2013: Janet Cardiff’s Alter Bahnhof, Dries Verhoeven’s Niemandsland, and Judith Hoffland’s Like Me. Each in their own right reconfigures the urban experience by means of locative features and interactive relations with their environments. These art works help to see Hosokawa’s “secret theatre” in a new light of highly individualized yet relational aesthetic experiences that open our ears and eyes to an outside social context and reality rather than shut them off.

- by Pieter Verstraete
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- Media Studies, Media Archaeology, Theatre Studies, Sound and Image
- by Yiğit Yeşillik
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- Cultural Studies, Philosophy, Jean-Luc Nancy, Contemporary French Philosophy
- by Karolina Doughty
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- Human Geography, Soundscape Studies, Affect/Emotion, Sonic Studies

Texto que introduce el dossier homónimo. Dice: "el presente dossier apunta a profundizar en la comprensión del rol de la música en los procesos de transformación política y cultural. Nos interesa hacer una lectura sonora y musical del movimiento social del país, describiendo la diversidad de artistas, géneros y formas de escenificación musical. Queremos interpretar el mensaje que la música y los músicos, así como la gente movilizada a través de distintas «acciones sónicas», han enviado al mundo, particularmente a un año de cumplirse el inicio de la revuelta ciudadana y a pocos días de haberse aprobado la elaboración de la nueva constitución.
Los sonidos y las músicas del movimiento han sido tan diversas como transversales las causas del descontento. Por eso, este dossier no trata acerca de la música en tanto «ambiente sonoro» que acompaña las protestas, sino más bien sobre las músicas, sonidos, silencios y recuerdos que se han desplegado en las protestas. A través de ella se han movilizado afectos, recuperado memorias, fortalecido lazos sociales, mostrado diferencias y conflictos, potenciando experiencias colectivas que nos han obligado a reconocer nuestras diversidades; tanto aquéllas que habitan la intimidad de nuestras individualidades, como las que experimentamos en la vida colectiva. En dicho sentido, este dossier propone una compren- sión de las músicas, los sonidos y la escucha como acciones políticas en sí mismas, no como elementos accesorios a ellas. Queremos leer esos sonidos (musicales o no) como aspectos centrales dentro del movimiento, con lo cual apelamos a su comprensión en el sentido político más lato, pero también al remezón senso-afectivo y las intersubjetividades que venimos atravesando quienes hemos vivido en Chile «de octubre a octubre»". NBB y CSE

- by Christian Spencer
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- Social Movements, Popular Music Studies, Popular Music, Ethnomusicology
- by Ian Hill
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- Discourse Analysis, American Studies, Intercultural Communication, Rhetoric

Coracles, Castanets, Cadaqués is part monologue, part comedy, part detective story, and part history lesson and follows the story of theatre professor who makes an appointment with a therapist. What ensues is a sonic and surrealistic autobiographical tale of lost orientation, and of learning to turn an eye into an ear in order to hear the ways that our own darkness is looped with our grandest understanding of love. Oh, and there’s a tiger.
https://www.performancephilosophy.org/journal/article/view/124/176

- by Kathleen M Gough
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- Psychoanalysis, Performance Studies, Dramaturgy, Auditory Culture
- by Nicola Di Croce
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- Urban And Regional Planning, Sonic Studies, Public policies, Field Recording
- by Budhaditya Chattopadhyay
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- Auditory Perception, Sonic Art, Sound studies, Sound

REAL IS NOT REAL ENOUGH
Real is Not Real Enough is an audio experience based on the work of the writer and philosopher Günther Anders. California 1941: real war in Europe, fake blood in Los Angeles. Join us we enter the HOLLYWOOD COSTUME PALACE, where movie magic is made. This audio work is an adaptation of Günther Anders’ remarkable diary “Washing the Corpses of History”. And remember, always keep it real.

- by Benjamin Nickl
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- Translation Studies, Sonic Art, Sound, Diary Studies

This article examines how the emergence of speech-driven interfaces for computational devices alters our affective relationships with machines, and argues that the rise of intelligent personal assistants such as Siri, Watson and Alexa calls for the question of affect to be brought to the centre of discourse around artificial intelligence (AI). It departs from the early imaginings and manifestations of human-computer conversations in the work of Turing and Weizenbaum, then introduces a Spinozan framework for theorising the transmission of affect and its ethical implications. It examines the affective economy engendered by vocal interfaces, drawing on a range of theories which focus on sound not only as an object of study, but also as a conceptual paradigm. It concludes by arguing that the machine voice constitutes a form of embodiment, and that according computers this " body " and inviting us to converse with them enhances our ability to enter into a sensuous relationship with them.

How might the recognition of sonic awareness (and its subsequent development) affect and inform the public policy design? It is assumed that the lack of sonic awareness possessed by the citizens who constitute communities currently affects the knowledge controlled by the main stakeholders who establish the guidelines that determine the experience of sonic environment. By exploring the intersection between sound studies and public policy design we believe it is possible to reveal how audible everyday practices might help us to explore otherwise intractable urban issues and enhance the role played by citizens’ acoustic awareness within the design of contemporary cities. This investigation allows the design of alternative maps of city uses, abuses and conflicts, and could help to identify the decline of specific traditional knowledges. Furthermore, audible everyday practices could enact listening education, making collectivities realise their responsibilities in the composition of sonic environment.

- by Nicola Di Croce
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- Cultural Heritage, Soundscape Studies, Urban And Regional Planning, Sonic Studies

In order to define Landscape and Heritage from a wider sonic perspective, we must distance ourself from the “sight leadership” which has established in the modern western culture. To this end we have to notice that the Intangible Cultural Heritage defined by UNESCO “includes traditions or living expressions inherited from our ancestors and passed on to our descendants” but it does not take into account an often inconscious, although strong and intangible element dealing with identity such as Soundscape. Thus, we need to substantially reframe the concept of heritage and the ways it is perceived, and compare it with the knowledge produced and controlled by planning and policy design.
This paper aims to mention and understand in which way particoular soundscapes contribute to shape a cultural heritage as much as an aural tradition does. Furthermore we argue that sonic awareness is the first step for such a process; through that an “informed” community may choose which specific sonic cues to safeguard and may disclose which everyday practice lies behind a specific sonic environment.
Taking care of a Soundscape has also to do with the redefinition of the noise pollution policies, working not only on a quantitative scale, besides a qualitative one. The aim is to pinpoint and collect the "acoustic footprints" which give unicity to a certain context and which have to be identified and transmitted. Beyond noise pollution regulation, we belive that planning is the field where a new definition of Heritage and Landscape can take place, fostered by art practices and Sonic Studies.