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Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 23/10/2023, 15:11
"An acoustic arena has both social and physical properties ... The social consequence of an acoustic arena is an acoustic community, a group of individuals who are able to hear the same sonic events."
"Headphones produce the most private of all acoustic arenas."
"Injecting noise of whatever kind into an acoustic arena is nothing more than an exercise of sonic power"
"... silence is the ultimate manifestation of social cohesiveness" because it requires common purpose and adherence to a shared set of values.
"A cognitive map of space is a combination of the rules of geometry as well as knowledge about the physical world. [...] This knowledge is acquired in childhood and continually modified in our experience as adults, we are not conscious of its existence. When sensing a spatial environment, an individual builds a cognitive map of space using a combination of sensory information and experiences accumulated over a lifetime. [The map] is subjective and personalized -- an active and synthetic creation -- rather than a passive reaction to stimuli."
"In all spatial experiences, there are two perspectives: allocentric, from which objects are perceived relative to a fixed external framework; and egocentric, from which objects are perceived relative to the perceiver."
Summarizing Nicholas Humphrey's (2000) view "that evolution progressively shifted sensory awareness of external stimuli from publicly observable reactions to private experiences."
"auditory spatial awareness also contributes to our ability to thrive in socially complex groups."
"our modern brains are an evolutionary solution to older problems; biological trade-offs over millions of years determined the properties of our auditory and cognitive cortices."
"Hemispherical specialization implies that various substrates are only partially aware of what other substrates are experiencing. In fact, what we think of as the unity of consciousness is not unified at all—it just appears that way."
"Because evolution did not provide us with a reliable mechanism to observe and communicate affect, using scientific experiments to understand the aural experience of spatiality is fraught with risks and uncertainty."
"bats in the Amazon valley shifted their vocalization from the more typical 100,000 Hz region to 8,000 Hz because the high humidity of the tropical rain forests rapidly attenuates ultrasonic signals (Griffin, 1971). Male short-tailed crickets can increase the area of their calling song by a factor of 14 by perching in treetops instead of on the ground (Paul and Walker, 1979). Fish take can take advantage of the highfrequency cutoff of shallow water to avoid detection by predators but still maintain communication with their conspecifics (Forrest, Miller, and Zagar, 1993). As these examples clearly illustrate, animals are more than merely aware of their particular acoustic environment. They use that awareness to evolve more useful communication strategies within a shared competitive auditory channel." Griffin, D. (1971). The importance of atmospheric attenuation for the echolocation of bats (Chiroptera). Animal Behavior 19: 55–61. Paul, R., and Walker, T. (1979). Arboreal singing in a burrowing cricket, Anurogryllus arboreus. Jour- nal of Comparative Physiology 132: 217–223. Forrest, T., Miller, G., and Zagar, J. (1993). Sound propagation in shallow water: Implications for acoustics communications by aquatic animals. Bioacoustics: The International Journal of Animal Sound and Its Recording 4: 259–270.
"When traditional experiments involving rats in a maze were reexamined, earlier results were questioned and challenged because experimenters had not considered the rat’s ability to detect spatial properties using the auditory channel."
The authors begin a chapter on auditory spatial awareness as evolutionary artefact with "the premise that the aural experience of space contributed, at least indirectly, to the reproductive success of our species. From a narrow perspective, our brain evolved specialized auditory substrates that could incorporate spatial attributes into awareness. But, from a broader perspective, auditory spatial awareness also contributes to our ability to thrive in socially complex groups."
"...full sonic illumination of aural architecture requires a mixture of continuous and transient energy over a wide range of frequencies, amplitudes, and locations."
Because humans have an innate ability to produce sound (cf light production), "aural architecture is dynamic, reactive and enveloping." Spaces respond sonically to the human voice and sound-making but not visually.
"...we do not so much hear sound as perceive sonic events..."
"Auditory spatial awareness is more than just the ability to detect that space has changed sounds; it includes as well the emotional and behavioral experience of space."
Acoustic Horizon: "the maximum distance between a listener and source of sound where the sonic event can still be heard." Acoustic Arena: "a region where listeners are part of a community that shares an ability to hear a source event." Auditory Channel: "the connection between a sound event and a listener ... a channel shared among listeners provides social cohesion."
Urban growth led to a shrinkage of the public acoustic arena -- e.g. bells would not carry so far from one village to the next but were now masked by other buildings.
The concept of an acoustic arena is a powerful one particularly when the occupant has some power in shaping it.
The authors define attentive listening as an intense focusing on sound often with the eyes shut.
The authors distinguish between soundscape and aural architecture. The former emphasizes sound which has intrinsic importance. The latter emphasizes space and sounds serve merely to illustrate that space. A subtle and not necessarily relevant distinction.
Social spheres are defined by social distances or proxemic distances whereby different distances (from 9.5m to > 4m) are used to limit proximity to other persons and therefore access to a private acoustic arena. Technology (e.g. audio technology) has overturned these rules and complete strangers can now vocalize within a person's private arena through the agency of headphones and an intimate sound balance.
A discussion on auditory spatial awareness. Conclusions, based mainly on case studies of blind people: Auditory spatial awareness is a skill that must be learnt and is difficult to learn. Different aural cultures have different abilities and there is no one sensitivity to aural space; rather a group of independent sensory skills (some more aware of spatial volumes, others more aware of objects in that space). Controlled experiments showing humans have give auditory spatial awareness should be treated with care as they are artificial and, in testing one spatial factor, usually remove other potentially confusing factors.
The authors make a distinction between architectural embellishments that are active sources or are passive filters (e.g. fountain and resonant alcove) and draw a parallel to light (e.g. candle and mirror).
Local embellishments (fountain and alcove) affect only part of a larger area and are only heard close up whereas global embellishments affect all of that larger space e.g. reverberation). Typically, visual objects are local whereas acoustic objects are global.
Summarizes (then) current neuroscientific research about the different roles of the two hemispheres of the brain indicating that the creative functions (including music, nonverbal speech, and emotional expression) are in the right and so more-or-less separate from functions such as language and reason which are found in the left.
Brand, J. E., Knight, S., & Majewski, J. 2003, November 4–6. The diverse worlds of computer games: A content analysis of spaces, populations, styles and narratives. Paper presented at Level Up.
Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:59
FPS games give the player little control over narrative progression as opposed to the other extreme (e.g. racing or sports games) where "the player is in control of the progression and story outcome"
Brotons-Mas, J. R., & O'Mara, S. (2006). Neural processing of spatial information: What we know about place cells and what they can tell us about presence. Presence: Teleoperators and Virtual Environments, 15(5), 485–499.
Added by: Mark Grimshaw-Aagaard 09/03/2018, 09:02
Carpenter, E., & McLuhan, M. (1970). Acoustic space. In E. Carpenter & M. McLuhan (Eds.), Explorations in Communication. (pp. 65–70). London: Jonathan Cape.
Added by: Mark Grimshaw-Aagaard 07/01/2017, 10:56
"In our society [...] to be real, a thing must be visible, and preferably constant. We trust the eye, not the ear."
"Auditory space has no favored focus. It's a sphere without fixed boundaries, space made by the thing itself, not space containing the thing."
"Auditory space has no boundaries in the visual sense [...] There is nothing in auditory space corresponding to the vanishing point in visual perspective [...] auditory space lacks the precision of visual orientation."
"[Auditory space] can be filled with sound that has no "object," such as the eye demands."
"pure visual space is flat, about 180 degrees, while pure acoustic space is spherical. Perspective translated into visual terms the depths of acoustic space."
A reminder that the infant must learn to see -- reverse lateral field, achieve binocular vision, revert the upside-down world, learn a sense of depth (a child unable to move would only have a 2D world). Authors state that depth, the 'chief characteristic of visual space,' is not primarily derived from visual experience but from locomototion and kinaesthetic experience (a blind child achieves depth perception through audition and locomotion).
Carr, D. (2006). Space, navigation and affect. In Computer Games: Text, Narrative and Play. (pp. 59–71). Cambridge: Polity.
Added by: Mark Grimshaw-Aagaard 17/09/2009, 09:41
Summarizing immersion as described by other writers, Carr suggests that there are two categories of immersion: "perceptual immersion, which occurs when an experience monopolizes the senses of the participant, and psychological immersion, which involves the participant becoming engrossed through their imaginative or mental absorption."
Use's Murray's (1997) maze, rhizome and labrynth terminology applied to spatial navigation (through the narrative).
Carter, P. (2004). Ambiguous traces, mishearing, and auditory space. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 43–63). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard 20/12/2007, 16:14
"...making sound recordings involves a poetics of performance reflecting the character and limitations of the technology."
"LISTENERS CONSTRUCT AUDITORY SPACE [...] To be communicative depends upon anticipating the other's moves."
"Auditory space is durational, but it lacks music's (and writing's) commitment to linear development. Without a sense of ending, it is not located between silences."
In many societies, "[m]eaning is derived not from the place of the sound sign in relation to other sound signs within the communicational system. It originates from outside the system, from the association of the sound with a sound in the environment that it mimics."
Listening to an acoustic ecology or a culture typically involves a hearing bias, a discrimination towards foreground sounds and against background noise. When listening to a culture, this reinforces "the proposition that culture is communication." This, for Carter, is a mistake.
Casati, R., Dokic, J., & Di Bona, E. (2005-2020). Sounds. Stanford Encyclopedia of Philosophy. Retrieved October 27, 2021, from http://plato.stanford.edu/entries/sounds/.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/08/2026, 02:15
"the various philosophical pronouncements about the nature of sounds can be rather neatly classified according to the spatial status each of them assigns to sounds. Where are sounds? Are they anywhere? The main relevant families of answers include proximal, medial, distal, and aspatial theories."
Proximal theory of sound/sound as sensation: "If sounds are simply defined as the objects of audition, then they are easily identified with the qualitative aspects of auditory perception. Various strands of indirect realism in perception would make this view mandatory. According to them, it is by hearing the immediate, proximal items that we hear some distal events or objects."
Within distal theories of sound, there are four main concepts: Sound is a property. Like colours, smells, and shapes, sounds are secondary qualities being sensory qualities. One might object that an object does not have a sound—unlike the object that has a smell, colour, or shape—rather the object produces a sound. Another objection is that sounds are dynamic and "intrinsically temporal entities" and, unlike colours and shapes, are individuals. Sound is a located event. Sounds are events that happen to material objects. They are located at the material source and can be identified with, or at least supervene on, the vibrations of that object. A medium is required to transmit the sound to a listener but is not required for the sound' existence—a tuning fork in a vacuum still produces a sound; it simply cannot be transmitted to us. In this theory, sound is also an "intrinsically temporal entity." Nevertheless, sounds can also be mislocated, as with echoes, and the Doppler effect might suggest that sound is in fact medial. However, a proponent of this distal theory would simply argue that it is the medium that affects our perception of pitch change—to anyone remaining with the sound source, the sound does not change. Other objections are typically countered by the charge that the objector confuses sound with a sound wave. Sound is a relational event. Sounds are events involving both source and medium. Developed from Aristotle's statement "everything that makes a sound does so by the impact of something against something else, across a space filled with air" (De Anima II.8 420b15). This is usually taken as an argument for the medial view of sound as a sound wave but has been interpreted by O'Callaghan to mean that sound waves are not the sounds themselves but the effects of the sounds. Thus, the medium is required for sound and so sound does not exist in a vacuum. Sound is the disposition of an object to vibrate upon being stimulated. In this way it is like colour which might be explained as the disposition of an object to reflect white light in a particular way. Without vibration, objects may well have sounds but they cannot be heard. Hitting, or 'thwacking,' an object is akin to shining white light upon an object—it reveals the sound as the light reveals the colour. An objection might be that, in fact, there are many dispositions to vibrating/sounding when thwacked as illustrated by the different vibratory characteristics of an amplitude envelope. Equally, there are many types of thwackers that can be used, each eliciting a different vibration and sound. What also of the sound that lasts once the vibrational disposition has ceased? We also hear sounds as unfolding over time which is more process and event than disposition.
In dicussing medial theories, early proponents (or at least forebearers) of the wave view of sound are noted including Aristotle, Galileo, and Descartes who all stated that sound is a movement in air. Thus modern acoustics and the standard definition of sound as a sound wave. Arguments against the medial/wave view include: the existence of infrasound and ultrasound (the same physical nature as other sound waves but not sensed) a sound wave does not necessarily depend on the physical property of the sounding object (cf loudspeakers) as with proximal theories, medial theories do not locate sounds where our everyday experience would locate them (at the source and so at a distance and unmoving) if sounds were sound waves where then is the information contained in them that informs about the sound source, its distance, the sound's loudness, and so on—everything that we experience in everyday perception of sound?
In rejecting the idea that sounds are proximal stimuli (cf. (O'Shaughnessy 2009)), a number of arguments are used including: if sound is at the hearer's position then the number of sounds = the number of listeners Failing this, then a single sound can exist in multiple locations Also rejected is that, while the fact that the sound of something distant sounds different if one were close up (an argument for sound as proximal stimuli), that we have no notion of distal volume or loudness of a sound—we do. A motorcycle at a distance can still be judged to be loud. The fault, apparently, is that the proximal stimulus theory does not "distinguish between source and informational channel." Thus, the information derived from a sound wave includes not only information about the original sound wave but also filtering in the medium, reflections, absorption, echoes and so on. Another fault is that our everyday experience locates sound where the sound wave source is.
Chagas, P. C. (2005). Polyphony and embodiment: A critical approach to the theory of autopoiesis. Revista Transcultural de Música, 9 Retrieved July 7, 2006, from http://www.sibetrans.com/trans/trans9/chagas.htm
Added by: Mark Grimshaw-Aagaard 07/07/2006, 11:11
"Reverberation becomes an instrument of the deconstruction and re-construction of space"
Corvellec, H., & Paulsson, A. (2023). Resource shifting: Resourcification and de-resourcification for degrowth. Ecological Economics, 205.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 30/09/2023, 08:55
"Drawing from the recent resourcification manifesto (Hultman et al., 2021), we propose that many of the calls for socioecological transformations are, in fact, a plea for resource shifting. Resource shifting denotes the ending of unsustainable resourcification practices while at the same time promoting sustainable practices." Reference: (Hultman et al. 2021).
De-resourceification is "the unbecoming of resources"
Crang, M., & Thrift, N. (Eds). (2000). Thinking space. London: Routledge.
Added by: Mark Grimshaw-Aagaard 30/06/2006, 12:32
Davis, E. (1997). Acoustic cyberspace. Retrieved March 15, 2011, from http://www.techgnosis.com/acoustic.html
Added by: Mark Grimshaw-Aagaard 15/03/2011, 10:57
"My question here is: why are acoustic spaces so effective in this regard? What is it about sound that is so potentially immersive? I think it has to do with how we register it—how it affects different areas of the bodymind than visuals do. Affect is a tremendously important dimension of experience, and one of the most difficult to achieve in a visual environment. "Atmosphere" might be a good way to describe this aspect: sound produces atmosphere, almost in the way that incense—which registers with yet another sense—can do. Sound and smell carry vectors of mood and affect which change the qualitative organization of space, unfolding a different logic with a space's range of potentials. Ambient music, or an ambient soundscape, can change the quality of a space in subtle or dramatic ways."
Evans, G. (1985). Collected papers. Oxford: Clarendon Press.
Added by: Mark Grimshaw-Aagaard 10/01/2024, 05:50
"The connection between space and objectivity lies so deep in our conceptual scheme that many philosophers pass from 'objective' to 'outer' without even noticing the question they beg. The subjective being regarded as what is 'in the mind', the objective becomes what is 'without the mind, and then it is easy to say with Hobbes that if we have a conception of a thing without the mind, we have a conception of space."
Foucault, M. (1984). Of other spaces, heterotopias. Architecture, Mouvement, Continuité, 5, 46–49.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/05/2026, 01:42
"The last trait of heterotopias is that they have a function in relation to all the space that remains [sic]."
Utopias and heterotopias "have the curious property of being in relation with all the other sites, but in such a way as to suspect [sic], neutralize, or invert the set of relations that they happen to designate, mirror, or reﬂect. These spaces, as it were, which are linked with all the others, which however contradict all the other sites, are of two main types (i.e., utopias and heterotopias)."
"In general, the heterotopic site is not freely accessible like a public place. Either the entry is compulsory, as in the case of entering a barracks or a prison, or else the individual has to submit to rites and puriﬁcations. To get in one must have a certain permission and make certain gestures."
"First of all, there are heterotopias of indeﬁnitely accumulating time, for example museums and libraries, Museums and libraries have become heterotopias in which time never stops building up and topping its own summit, whereas in the seventeenth century, even at the end of the century, museums and libraries were the expression of an individual choice. By contrast, the idea of accumulating everything, of establishing a sort of general archive, the will to enclose in one place all times, all epochs, all forms, all tastes, the idea of constituting a place of all times that is itself outside of time and inaccessible to its ravages, the project of organizing in this way a sort of perpetual and indeﬁnite accumulation of time in an immobile place, this whole idea belongs to our modernity. The museum and the library are heterotopias that are proper to western culture of the nineteenth century."
"Utopias are sites with no real place. They are sites that have a general relation of direct or inverted analogy with the real space of Society. They present society itself in a perfected form, or else society turned upside down, but in any case these utopias are fundamentally unreal spaces."
". . . we live inside a set of relations that delineates sites which are irreducible to one another and absolutely not superimposable on one another."
"Our epoch is one in which space takes for us the form of relations among sites."
"For the real scandal of Galileo’s work lay not so much in his discovery, or rediscovery, that the earth revolved around the sun, but in his constitution of an inﬁnite, and inﬁnitely open space. In such a space the place of the Middle Ages turned out to be dissolved. as it were; a thing’s place was no longer anything but a point in its movement, just as the stability of a thing was only its movement indeﬁnitely slowed down. In other words, starting with Galileo and the seventeenth century, extension was substituted for localization."
"The present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment. [sic] I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein."
As an example of heterotopia, Foucault gives the example of a mirror. A mirror is a utopia but, because it does exist in reality, it is also a heterotopia exerting a "counteraction on the position" the viewer occupies. "...a virtual space that opens up behind the surface; I see myself there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent".
Defines the term heterotopia which is an "effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality."
Gonot, A., Natkin, S., Emerit, M., & Chateau, N. 2006, November 22–24. An experiment in the perception of space through sound in virtual world and games. Paper presented at 9^th International Conference on Computer Games: Artificial Intelligence and Mobile Systems, Wolverhampton, UK.
Added by: Mark Grimshaw-Aagaard 29/01/2008, 11:22
Grimshaw, M. 2007, November 14–15. The resonating spaces of first-person shooter games. Paper presented at The 5^th International Conference on Game Design and Technology, Liverpool.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/12/2007, 05:20
Grimshaw, M. (2016). The privatization of sound space. In V. Meelberg, M. Cobussen & B. Truax (Eds.), The Routledge Companion to Sounding Art. (pp. 463–472). London: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/12/2017, 14:00
Grönlund, B. 1997, March 21. Urbanity: Lived space and difference. Paper presented at Urbanity & Aesthetics, Copenhagen University.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/01/2006, 12:48
Some discussion of Lebebvre's differential space with some criteria being: Differential space - some criteria Dominated by users Time is a resource Non-quantifiable activities Creative space for love, being, works, amenities A place of festivity The space of non-labour Some degree of pluralism Eroticized space Space of ambiguity Fixed, semi-fixed, movable or vacant Situational, relational space Compact, highly elaborated places of encounter and transition Empty places for play and encounter - unspecified places Spaces for minorities and the marginal Differential space is the 3rd historical stage in Lefebvre's ontological transformation of space.
Hultman, J., Corvellec, H., Jerneck, A., Arvidsson, S., Ekroos, J., & Gustafsson, C., et al. (2021). A resourcification manifesto: Understanding the social process of resources becoming resources. Research Policy, 50(9), 1–7.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 09/03/2023, 16:59
"We define resourcification as the social processes involved in turning something into a resource. This definition shifts the focus away from essentialist queries about the amount or features of resources to the study of their becoming resources. Correspondingly, we define deresourcification as the processes through which something is no longer considered a resource."
"Our goal is the creation of a critical, interdisciplinary platform to identify, describe, and explain interactions among humans, other living organisms, and the environment."
"It follows, therefore, that although the use of resources is a condition for all life, our agenda is concerned with anthropogenic resourcification under the increasingly perilous conditions of the Anthropocene."
"Anthropogenic resourcification is founded on extractivism: the exploitation of soil nutrients, minerals, and other extractable things. Extractivism is based on the anthropocentric assumption that natural and human-made environments, materials, processes, and beings – including humans – are a cheap and ready-to-resourcify stock of inputs waiting to be dominated and exploited. Extractivism applies to what is seen as both renewable and non-renewable resources."
"Internet technology made it possible for intermediaries such as Amazon, Airbnb, and Alibaba to develop global market-making infrastructures that resourcify themselves and the suppliers and customers they connect"
"Resourcification is conditioned upon the practical possibility of abstracting and extracting the potential resource from its current setting and moving it to a new geographical, social, and technological setting."
Johannesen, H.-L. Performative space: Architecture beyond media? Retrieved March 21, 2006, from http://www.diffus.dk/di ... designskolen/paper1.pdf
Added by: Mark Grimshaw-Aagaard 21/03/2006, 11:53
"The medium of immersive virtual space is not merely a conceptual space but also a physical space, due to the potential of extension and envelopment three-dimensional [sic]"
"You have to perform to use the potential of space"
"A performative space is, ultimately, a user oriented or user required space. The inhabitant of a space is understood as a participant more than a visitor, more using the space than being in space"
Jørgensen, K. 2006, October 11–12. On the functional aspects of computer game audio. Paper presented at Audio Mostly 2006, Piteå, Sweden.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2009, 10:53
"[...] game audio has the over-arching role of supporting a user system while also supporting the sense of presence in a fictional world."
"...gamers now expect realistic audo samples to be used in games, and critically, the use of such sounds will make the audio world more immersive and thus, [sic] effective."
When purchasing a game, game audio is not a motivating factor (playability and graphics are).