scholarly journals Channelisation of Noise through a Rhythmic Grid: Brutalist Mechatronic Sound-sculpture

2021 ◽  
Author(s):  
◽  
Mohammad Zareei
Keyword(s):  
Sound Art ◽  
Technological Developments ◽  
Sound Sculpture ◽  
By Products ◽  
A Performance

<p>The aim of this thesis is to provide accessibility and appreciation for sounds that are conventionally perceived as non-musical or “noise”. Ordering the noise on a grid of metric rhythms, and underlining its materiality through an audiovisual mode of expression are the two main strategies employed. Using the medium of mechatronics, mechanically generated sonic by-products of technological developments are chosen as the focus sonic material. As a result, the output of this research extends what is known as glitch music outside the territory of amplified sound, to a realm where noise is created physically and acoustically.  Based on these objectives, and following an investigation on the use of mechatronics in contemporary sound-based art, an ensemble of mechatronic sound-sculptures is designed and developed. Varying in terms of material, sound-generating mechanism, and sonic quality, the ensemble is divided into three different instrument-types, each of which is introduced, thoroughly described, and sonically evaluated. Next, three new audiovisual works are developed and realised utilising the mechatronic sound-sculptures, in order to turn into practice the ideas explored in this research. These compositions – which are all exhibited in competitive international symposiums – undertake the integration of mechatronics in three areas of sonic arts that are interconnected with the sound-sculptures.  Furthermore, this thesis also establishes an aesthetic framework that formalises a significant body of contemporary sound art and music that, prior to this work, had suffered academic inattention. Probing the various parallels between the ideas developed in this thesis and Brutalist architecture, ‘sound-based brutalism’ is coined and formulated as an aesthetic underpinning for not only the academically marginalised works discussed, but also the work of the author. Lastly, two audiovisual projects (a performance and a series of ten installation pieces) are developed using the entire mechatronic sound-sculpture series in an effort to realise ‘sound-based brutalism’.</p>

scholarly journals Channelisation of Noise through a Rhythmic Grid: Brutalist Mechatronic Sound-sculpture

2021 ◽  
Author(s):  
◽  
Mohammad Zareei
Keyword(s):  
Sound Art ◽  
Technological Developments ◽  
Sound Sculpture ◽  
By Products ◽  
A Performance

<p>The aim of this thesis is to provide accessibility and appreciation for sounds that are conventionally perceived as non-musical or “noise”. Ordering the noise on a grid of metric rhythms, and underlining its materiality through an audiovisual mode of expression are the two main strategies employed. Using the medium of mechatronics, mechanically generated sonic by-products of technological developments are chosen as the focus sonic material. As a result, the output of this research extends what is known as glitch music outside the territory of amplified sound, to a realm where noise is created physically and acoustically.  Based on these objectives, and following an investigation on the use of mechatronics in contemporary sound-based art, an ensemble of mechatronic sound-sculptures is designed and developed. Varying in terms of material, sound-generating mechanism, and sonic quality, the ensemble is divided into three different instrument-types, each of which is introduced, thoroughly described, and sonically evaluated. Next, three new audiovisual works are developed and realised utilising the mechatronic sound-sculptures, in order to turn into practice the ideas explored in this research. These compositions – which are all exhibited in competitive international symposiums – undertake the integration of mechatronics in three areas of sonic arts that are interconnected with the sound-sculptures.  Furthermore, this thesis also establishes an aesthetic framework that formalises a significant body of contemporary sound art and music that, prior to this work, had suffered academic inattention. Probing the various parallels between the ideas developed in this thesis and Brutalist architecture, ‘sound-based brutalism’ is coined and formulated as an aesthetic underpinning for not only the academically marginalised works discussed, but also the work of the author. Lastly, two audiovisual projects (a performance and a series of ten installation pieces) are developed using the entire mechatronic sound-sculpture series in an effort to realise ‘sound-based brutalism’.</p>

scholarly journals Click::RAND. A Minimalist Sound Sculpture

2020 ◽  
Author(s):  
Paul Dunham ◽  
Mo Zareei ◽  
Dugal McKinnon ◽  
Dale Carnegie
Keyword(s):  
Sound Art ◽  
Random Numbers ◽  
Research Approach ◽  
Archaeological Research ◽  
Deterministic Approach ◽  
History Of Computing ◽  
Sound Installation ◽  
Object Based ◽  
History Of ◽  
Sound Sculpture

Discovering outmoded or obsolete technologies and appropriating them in creative practice can uncover new relationships between those technologies. Using a media archaeological research approach, this paper presents the electromechanical relay and a book of random numbers as related forms of obsolete media. Situated within the context of electromechanical sound art, the work uses a non-deterministic approach to explore the non-linear and unpredictable agency and materiality of the objects in the work. Developed by the first author, Click::RAND is an object-based sound installation. The work has been developed as an audio- visual representation of a genealogy of connections between these two forms of media in the history of computing.

Bill Fontana’s Distant Trains: A documentation of an acoustic relocation

2017 ◽  
Vol 22 (1) ◽  
pp. 112-121
Author(s):  
Robert Stokowy
Keyword(s):  
Sound Art ◽  
Future Generations ◽  
Sound Installation ◽  
Research Findings ◽  
New Research ◽  
Sound Sculpture ◽  
Work First

Witnessing a sound installation in person offers an opportunity to experience the qualities and elements of a work first hand and in full, multisensory effect. A thorough documentation of an exhibition and the work that goes into it is at the essence of preserving important information for future generations. Though information can be gathered from archives, some works of sound art are only marginally presented in the literature, making it difficult to fully grasp aspects of an artist’s technical, organisational and, most particularly, creative ways of working. Instead, already existing information is often reproduced. Previous documentation regarding Bill Fontana’s Sound Sculpture Distant Trains, exhibited in Berlin in 1984, offers an example of the possible loss of key details. This article aims to present new research findings that will examine and illuminate the full scope of this artistic project.

scholarly journals Click::RAND. A Minimalist Sound Sculpture

2020 ◽  
Author(s):  
Paul Dunham ◽  
Mo Zareei ◽  
Dugal McKinnon ◽  
Dale Carnegie
Keyword(s):  
Sound Art ◽  
Random Numbers ◽  
Research Approach ◽  
Archaeological Research ◽  
Deterministic Approach ◽  
History Of Computing ◽  
Sound Installation ◽  
Object Based ◽  
History Of ◽  
Sound Sculpture

Discovering outmoded or obsolete technologies and appropriating them in creative practice can uncover new relationships between those technologies. Using a media archaeological research approach, this paper presents the electromechanical relay and a book of random numbers as related forms of obsolete media. Situated within the context of electromechanical sound art, the work uses a non-deterministic approach to explore the non-linear and unpredictable agency and materiality of the objects in the work. Developed by the first author, Click::RAND is an object-based sound installation. The work has been developed as an audio- visual representation of a genealogy of connections between these two forms of media in the history of computing.

A New Materiality Post-Speaker Sound Art

2021 ◽  
pp. 202-218
Author(s):  
Fari Bradley
Keyword(s):  
Sound Art ◽  
Found Objects ◽  
Sound Sculpture ◽  
Ebb And Flow

How do sound artists function in a ‘post-speaker’ approach to production? Due to the market proliferation of reasonably-priced loudspeakers, rendering them portable and reduced in size on the gallery floor, a standard emerged in which soundworks were formed of prerecorded sounds played back from loudspeakers in gallery spaces. In these instances technology served as the material, shape and form of both sound sculpture and installation, the speaker representing a conveyance of ‘truth’. As a reaction, ‘post-speaker’ soundworks grew gradually as an awareness amongst artists who consciously avoided employing generic loudspeakers, or sought to hide them, perceiving them to be empty vessel conveying artifice. Since even before the loudspeaker was affordable, perhaps as a way of adapting to the loudspeaker’s expense, and later as a reaction to its ubiquity, there has been an ebb and flow towards building on the physical experience of a work, either by generating the sound in the gallery space itself or by using the loudspeaker in innovative ways. The reaction to speakers is a self-conscious continuum created by omission whereby sound sculpture and installation increasingly return to kinetic tendencies, and hand-made and found objects in immersive works that eschew or deconstruct the speaker’s homogeneity altogether.

Hydrogen Cyanide Polymers from the Impact of Comet P/Shoemaker-Levy 9 on Jupiter

1997 ◽  
Vol 161 ◽  
pp. 179-187
Author(s):  
Clifford N. Matthews ◽  
Rose A. Pesce-Rodriguez ◽  
Shirley A. Liebman
Keyword(s):  
Amino Acids ◽  
Solar System ◽  
Hydrogen Cyanide ◽  
Nitrogen Heterocycles ◽  
Laboratory Studies ◽  
Heterogeneous Solids ◽  
The Many ◽  
Comet Halley ◽  
The Impact ◽  
By Products

AbstractHydrogen cyanide polymers – heterogeneous solids ranging in color from yellow to orange to brown to black – may be among the organic macromolecules most readily formed within the Solar System. The non-volatile black crust of comet Halley, for example, as well as the extensive orangebrown streaks in the atmosphere of Jupiter, might consist largely of such polymers synthesized from HCN formed by photolysis of methane and ammonia, the color observed depending on the concentration of HCN involved. Laboratory studies of these ubiquitous compounds point to the presence of polyamidine structures synthesized directly from hydrogen cyanide. These would be converted by water to polypeptides which can be further hydrolyzed to α-amino acids. Black polymers and multimers with conjugated ladder structures derived from HCN could also be formed and might well be the source of the many nitrogen heterocycles, adenine included, observed after pyrolysis. The dark brown color arising from the impacts of comet P/Shoemaker-Levy 9 on Jupiter might therefore be mainly caused by the presence of HCN polymers, whether originally present, deposited by the impactor or synthesized directly from HCN. Spectroscopic detection of these predicted macromolecules and their hydrolytic and pyrolytic by-products would strengthen significantly the hypothesis that cyanide polymerization is a preferred pathway for prebiotic and extraterrestrial chemistry.

Bright-Field Images (Ctem) of Phase Objects at High Resolution

1976 ◽  
Vol 34 ◽  
pp. 490-491 ◽  
Author(s):  
Sumio Iijima
Keyword(s):  
High Resolution ◽  
Electron Beam Irradiation ◽  
Fine Particles ◽  
High Resolution Electron Microscopy ◽  
Good Test ◽  
Resolution Electron ◽  
Single Crystal Films ◽  
Crystal Films ◽  
By Products ◽  
Test Objects

We have developed a technique to prepare thin single crystal films of graphite for use as supporting films for high resolution electron microscopy. As we showed elsewhere (1), these films are completely noiseless and therefore can be used in the observation of phase objects by CTEM, such as single atoms or molecules as a means for overcoming the difficulties because of the background noise which appears with amorphous carbon supporting films, even though they are prepared so as to be less than 20Å thick. Since the graphite films are thinned by reaction with WO3 crystals under electron beam irradiation in the microscope, some small crystallites of WC or WC2 are inevitably left on the films as by-products. These particles are usually found to be over 10-20Å diameter but very fine particles are also formed on the film and these can serve as good test objects for studying the image formation of phase objects.

Confronting the grey zone after severe brain injury

2019 ◽  
Vol 3 (6) ◽  
pp. 707-711 ◽  
Author(s):  
Andrew Peterson ◽  
Adrian M. Owen
Keyword(s):  
Brain Injury ◽  
Ethical Issues ◽  
Vegetative State ◽  
Clinical Care ◽  
Grey Zone ◽  
Severe Brain Injury ◽  
New Methods ◽  
Legal Decision Making ◽  
Technological Developments ◽  
The Brain

In recent years, rapid technological developments in the field of neuroimaging have provided several new methods for revealing thoughts, actions and intentions based solely on the pattern of activity that is observed in the brain. In specialized centres, these methods are now being employed routinely to assess residual cognition, detect consciousness and even communicate with some behaviorally non-responsive patients who clinically appear to be comatose or in a vegetative state. In this article, we consider some of the ethical issues raised by these developments and the profound implications they have for clinical care, diagnosis, prognosis and medical-legal decision-making after severe brain injury.

Sign in / Sign up

Export Citation Format

Share Document