Soundscape as Interface: The Threshold Project

2012 ◽  
Vol 22 ◽  
pp. 58-59
Author(s):  
Kristian Derek Ball

The author discusses his sound installation Threshold as a system to explore an evolving acoustic ecology. For the purpose of this brief examination, the author observes how the soundscape functions as an interface in communion with its participants.

Author(s):  
Barry Truax

Using the concept of acoustic ecology as his bulwark, Barry Truax theorizes listening as an embodied interface to our auditory environment. Acoustic spaces, Truax argues, should be understood as simultaneously real and imagined, and he discusses how such forms of dual perception exist in both everyday soundscapes and technologically mediated soundscapes. He contends that memory, imagining, and anticipation are closely connected to all stages of listening. These aspects of listening are further used to explore and define what Truax calls the “acoustic community”—that soundscape that emerges as a product of collective individual imagination.


2016 ◽  
Vol 97 (6) ◽  
pp. 1784-1785 ◽  
Author(s):  
Jorge Ortega ◽  
Diana D. Moreno-Santillán ◽  
Veronica Zamora-Gutierrez

2013 ◽  
Vol 18 (1) ◽  
pp. 14-21 ◽  
Author(s):  
Peter Batchelor

Public art invariably involves the drawing of individuals into the roles of audience and participant by virtue of it being in the public domain – in public places where those individuals are getting on with their everyday lives. As such, a large proportion of the ‘audience’ is an unwitting one, subjected to the art rather than subscribing to it. This is equally true of public sound art, where response to an intervention may vary from engagement to non-engagement to indifference to unawareness, along with a variety of transitional states between. This essay seeks to investigate this ambiguous territory in public sound art, proposing it both as an area rich in possibility for creative exploration and as a means by which artists may reveal and encourage sensitivity to the existing characteristics of a site (thus accommodating the pursuit of agendas relating to acoustic ecology). In particular it investigates and presents a case for the use of lowercase strategies in sound art as ways in which the public might be invited into a dialogue with works (invitation rather than imposition) and thus empowered as partakers of public sound art.


Author(s):  
Marlene Mathew ◽  
Mert Cetinkaya ◽  
Agnieszka Roginska

Brain Computer Interface (BCI) methods have received a lot of attention in the past several decades, owing to the exciting possibility of computer-aided communication with the outside world. Most BCIs allow users to control an external entity such as games, prosthetics, musical output etc. or are used for offline medical diagnosis processing. Most BCIs that provide neurofeedback, usually categorize the brainwaves into mental states for the user to interact with. Raw brainwave interaction by the user is not usually a feature that is readily available for a lot of popular BCIs. If there is, the user has to pay for or go through an additional process for raw brain wave data access and interaction. BSoniq is a multi-channel interactive neurofeedback installation which, allows for real-time sonification and visualization of electroencephalogram (EEG) data. This EEG data provides multivariate information about human brain activity. Here, a multivariate event-based sonification is proposed using 3D spatial location to provide cues about these particular events. With BSoniq, users can listen to the various sounds (raw brain waves) emitted from their brain or parts of their brain and perceive their own brainwave activities in a 3D spatialized surrounding giving them a sense that they are inside their own heads.


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