Content uploaded by Erin Lewis
Author content
All content in this area was uploaded by Erin Lewis on Feb 10, 2020
Content may be subject to copyright.
A preview of the PDF is not available
Sound-Based Thinking and Design Practices with Embodied Extensions
Figures
Figures - uploaded by Erin Lewis
Author content
All figure content in this area was uploaded by Erin Lewis
Content may be subject to copyright.
... Environments include but are not exclusive to: outside nature, homes, and factory work settings. Nine of the papers included in this category either refer to Schafer's definition of soundscape as an acoustic environment, include a reference to Truax, or both [60,100,139,169,185,201,209,242,265]. Of these nine, two actively utilise the aspects of soundscapes described by Schafer, i.e., 'keynote', 'signal', and 'soundmark' [139,201]. ...
... One paper included interviews where participants were asked to reflect on sound experiences but with no active listening exercise included in the study. As exemplified by Lewis and Stasiulyte [169] who conducted binaural recordings, audio recording technologies for documenting acoustic environments now include further options for documenting spatial characteristics. Looking at the chronological order of these papers, the earliest papers are mostly utilising qualitative methods such as soundwalks and interviews whereas the latest half is almost exclusively utilising audio recordings. ...
'Soundscapes' are an increasingly active topic in Human-Computer Interaction (HCI) and interaction design. From mapping acoustic environments through sound recordings to designing compositions as interventions, soundscapes appear as a recurring theme across a wide body of HCI research. Based on this growing interest, now is the time to explore the types of studies in which soundscapes provide a valuable lens to HCI research. In this paper, we review papers from conferences sponsored or co-sponsored by the ACM Special Interest Group on Computer-Human Interaction in which the term 'soundscape' occurs. We analyse a total of 235 papers to understand the role of soundscapes as a research focus and identify untapped opportunities for soundscape research within HCI. We identify two common soundscape conceptualisations: (1) Acoustic environments and (2) Compositions, and describe what characterises studies into each concept and the hybrid forms that also occur. On the basis of this, we carve out a foundation for future soundscape research in HCI as a methodological anchor to form a common ground and support this growing research interest. Finally, we offer five recommendations for further research into soundscapes within HCI.
The concept of the soundscape was first introduced by R. Murray Schafer in 1977, and was described as including all of the sound from a particular environment that reaches the human ear. In the past several years, mostly as a result of technological developments in field recording and data analysis, it has become necessary to focus more specifically on the complex sources and the environmental surroundings of soundscape acoustics in order to more accurately explain and probe the phenomenon. In this document, the soundscape is defined as comprised of three basic acoustic sources: biophony, geophony, and anthrophony, sometimes independent of one another while at other times intrinsically linked in various combinations. The connection between the natural soundscape and early human music, language, and spirituality are addressed. Furthermore, this document will show the ways in which natural soundscapes are currently being utilized in the fields of ecological resource management, medicine, biology, physics, sociology and many other disciplines.
The computer is no longer the center of attention. Thus, what we design is no longer the interface to the computer. Rather, what we design is a thing or an environment in which a computer might be used to create certain desired effects. Indeed, interaction design in a sense becomes the practice of giving form to artifacts or environments rather like any of the other design disciplines that we have know for centuries. However, giving form to computational things is highly complex and somewhat different than most other form-giving practices due to its temporal form element—its ability to change between states. Thus, an interaction design practice needs to encompass this temporal form giving in combination with physical form giving and performances of the interaction gestalt. In this paper, I propose this trinity of forms as a framework to unfold the practice of interaction design. I further demonstrate how computational composites present a way to work with the temporal form and the physical form in a process not too different from any traditional form-giving practice. Lastly, I point to some tools and techniques to deal with the interdependencies of the three form elements and thereby also demonstrate that a form-giving practice of interaction design is already well under way.
From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands ‘possible world theory’ to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty’s phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible.
Creating Sonic Possible Worlds, such a phenomenological modality offers a new analytical framework that listens across genres and times to hear the continuum between sound art and music and to grasp the plurality of the world.
This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to works by ÁineO’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound. Thus, the word continuum in the subtitle of this book, Hearing the Continuum of Sound, which in the first edition stood principally for the continuum between music and sound art, is opened up to denote also another continuum that stands as principle for the body, while including that of sound: Hearing the Continuum Between Plural Bodies Breathing, between humans-humanoid aliens-monsters-vampires-animals-plants-things-and anything we have no name for yet but which a sonic philosophy might start to hear and call.
The coming ubiquity of computational things urges us to consider what it means for something to be present in someone's life, in contrast to being just used for something. “Use” and “presence” represent two perspectives on what a thing is. While “use” refers to a general description of a thing in terms of what it is used for, “presence” refers to existential definitions of a thing based on how we invite and accept it as a part of our lifeworld. Searching for a basis on which these existential definitions are formed, we argue that the expressions of things are central for accepting them as present in our lives. We introduce the notion of an expressional, referring to a thing designed to be the bearer of certain expressions, just as an appliance is designed to be the bearer of a certain functionality. Aesthetics, as a logic of expressions, can provide a proper foundation for design for presence. We discuss the expressiveness of computational things as depending both on time structures and space structures. An aesthetical leitmotif for the design of computational things—a leitmotif that may be used to guide a normative design philosophy, or a design style—is described. Finally, we describe a practical example of what designing a mobile phone as an “expressional” might be like.
This chapter gives an overview of existing textile antennas and their applications. Issues are the trade-off between flexibility and conductivity of the textile, the influence of the body when the antenna is worn, and the bending and wrinkling of the antennas due to their textile nature.
An overview of CSIRO’s research on frequency, polarization and pattern reconfigurable antennas for wireless
communications is presented. We report the latest progress in antennas that can reconfigure several characteristics simultaneously as well as reconfigurable leaky-wave antennas.
This book, by one of the most innovative and challenging contemporary thinkers, consists of an extensive essay from which the book takes its title and five shorter essays that are internally related to âBeing Singular Plural.â One of the strongest strands in Nancyâs philosophy is his attempt to rethink community and the very idea of the social in a way that does not ground these ideas in some individual subject or subjectivity. The fundamental argument of the book is that being is always âbeing with,â that âIâ is not prior to âwe,â that existence is essentially co-existence. Nancy thinks of this âbeing-withâ not as a comfortable enclosure in a pre-existing group, but as a mutual abandonment and exposure to each other, one that would preserve the âIâ and its freedom in a mode of imagining community as neither a âsociety of spectacleâ nor via some form of authenticity. The five shorter essays impressively translate the philosophical insight of âBeing Singular Pluralâ into sophisticated discussions of national sovereignty, war and technology, identity politics, the Gulf War, and the tragic plight of Sarajevo. The essay âEulogy for the Mêlée,â in particular, is a brilliant discussion of identity and hybridism that resonates with many contemporary social concerns. As Nancy moves through the exposition of his central concern, being-with, he engages a number of other important issues, including current notions of the âotherâ and âselfâ that are relevant to psychoanalytic, political, and multicultural concepts. He also offers astonishingly original reinterpretations of major philosophical positions, such as Nietzscheâs doctrine of âeternal recurrence,â Descartesâs âcogito,â and the nature of language and meaning.