Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 20 of 22 Parameters |
| Altman, R. (1992). Sound space. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 46–64). New York: Routledge. |
  
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| Added by: Mark Grimshaw-Aagaard 16/02/2006, 07:28 | |
| Summarizing 1930's film sound theoretician J.P. Maxfield "the sound track must carry, independently from the image, all the information necessary to reconstruct the "real" space of the scene (that is, the one represented by the image)." | |
| As the image on screen flits about incessantly drawing our eyes hither and thither, it is the sound track, with its constant scale, that provides stability and an anchorage. "It is thus the sound track that provides a base for visual identification, that authorizes vision and makes it possible. The identity of Hollywood spectators begins with their ability to be auditors." | |
| By the end of the '30s, sound scale/image scale proportionality had been discarded in favour of (dialogue) intelligibility. The notion of the internal auditor (point-of-audition) was developed -- the spectator is required to identify with or inhabit the body of an on-screen character who will hear for us. Reverberation is used to identify sound intended for this character (little or no reverb) or not (greater ratio of reverberated sound to direct sound). The spectator is inserted into the film narrative "at the very intersection of two spaces [film space and the internal auditor's space (the character's body)] which the image alone is incapable of linking, thus giving us the sensation of controlling the relationship between those spaces." (p.61) | |
| An important point here is the relation between sound scale and image scale and the effect on film sound of single microphone technique, multiple mikes, mixing, sound editing, microhpone placements etc. In the early '30s, the emphasis was directed to authentic spatial recording (with a human body analogy) but, with the development of condensor microphones (required to be close to the sound source) and boom technology, this shifted to an emphasis on clarity (of dialogue). This had implications for mixing in post-production leading to the contruction of a sound track rather that its recording. By the end of the decade, attempts to match sound scale accurately to image scale had been all but discarded. | |
| Bech, S., & Zacharov, N. (2006). Perceptual audio evaluation: Theory, method and application. Chichester: John Wiley & Sons. |
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| Added by: Mark Grimshaw-Aagaard 11/07/2014, 12:28 | |
| Chen, C.-Y. (1996). Early Chinese work in natural science: A re-examination of the physics of motion, acoustics, astronomy and scientific thoughts. Hong Kong: Hong Kong University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/02/2016, 15:34 | |
| "In Chinese civilization, acoustics share with astronomy the distinction of being the first two branches of early studies of nature that received official recognition. Together with astronomy, acoustics occupied a unique position (such as Lü-Lì Zhì) in annals and official historical records throughout the ancient history of China. Literary records of work in acoustics go back as far as those in astronomy. This is not unexpected since acoustics, like astronomy, has the distinction of being one of the earliest fields in natural science to first establish a relationship with mathematics." | |
| Clarke, S. 2011, November 2–4. Acoustic design approach for hospitals. Paper presented at Acoustics. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/03/2018, 20:41 | |
| Czyzewski, A., Rostek, B., Odya, P., & Zielinski, S. (2001). Determining influence of visual cues on the perception of surround sound using soft computing. Lecture Notes in Artificial Intelligence, 2005, 545–552. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 12/10/2005, 11:38 | |
| "In most cases the video "attracts' the attention of the listener and, as a consequence, he or she localizes the sound closer to the screen center." This effect is called the "audio-visual proximity effect." | |
| Erlmann, V. (2000). Reason and resonance: A history of modern aurality. New York: Zone Books. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/02/2024, 07:01 | |
| "thinking and hearing do not so much place the subject in a fixed position vis-à-vis the world as they entangle it in ever-changing relationships of tonal resonance" | |
| Summarizing from Ernst Mach's (1838 - 1916) unpublished diaries, "physics, physiology, and psychology are part of a single field of knowledge in which "reality" is but a conglomeration of "sensational elements". | |
| "ample evidence of the fact that the sense of time is of fundamental importance to humans' sense of self". Erlmann relates this to Freud's Zauderrhythmus (vacillating rhythm) that governs the "proper interaction of consciousness and unconsciousness" -- thus perception is subject to "a "periodic" motion that wards off or at least slows down the "haste" of excessive excitations." According to Freud, this "apparatus not only sustains the organism and enlarges the domain of the ego by allowing us to step back from the urge to respond to each and every stimulus, it also determines our concept of time. Our entire time consciousness is based on the breaks that occur in the interplay between consciousness and the unconscious." | |
| Adapting Foucault's author function, "one might say that the listener is not simply the recipient of an indefinite number of significations that fill his or her hearing, nor does he or she come after the work. Rather, the listener is a function that fixes these meanings with the goal of circumscribing and prescribing the auditory ways in which individuals acknowledge themselves as subjects." | |
| Plato and the atomists thought that sound was a stream of air particles or even "special atoms" issuing from the source. | |
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Summarizing some of von Helmholtz's work c.1856 (On the Sensations of Tone: a sound (Klang) comprises several partials (Ton) thus perception, which is accomplished without reflection, is the act of fusing the sensation of several partials into one sound. Perceptions are thus the means by which we are aware of external objects whilst sensations allow us to become conscious of ourselves. "[P]erception is not based on conscious awareness and knowledge of the external world, but on a largely unconscious act" (p.237). cf Humphrey's (2000) reference to Thomas Reid's (1785) assertion that sensation presupposes a sentient being and no more but perception is an acknowledgement of something external to that being. |
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| Re Helmholtz's assertion that perception is unconscious, he suggests that conscious analysis of the Klang into Ton constituents would be disturbing. Thus, according to Helmholtz, as Erlmann puts it: "Hearing is repression." (p.257) | |
| Everest, F. A. (1984). Acoustic techniques for home and studio. 2nd ed. Blue Ridge Summit, PA: Tab Books. |
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| Added by: Mark Grimshaw-Aagaard 10/09/2004, 08:01 | |
| Farrehi, P. M., Nallamothu, B. K., & Navvab, M. (2016). Reducing hospital noise with sound acoustic panels and diffusion: A controlled study. BMJ Quality & Safety, 25(8), 644–646. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/03/2018, 09:13 | |
| Gaver, W. W. (1993). How do we hear in the world? Explorations in ecological acoustics. Ecological Psychology, 5(4), 285–313. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/04/2013, 16:39 | |
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"...material per se does not exist as for mechanical physics, but instead is separated into many other dimensions such as density, elasticity, and homegeneity. Nonetheless, people do seem to hear the material of a struck object, rather than these other properties[cite]185[/cite]." |
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| Using his simplified algorithms for modelling and synthesis of sound (simplification by discarding parts of the algorithm that have no perceptible effect, is likened by Gaver to "cartoon sounds" analogous to visual cartoons which "capture some defining features while leaving out incidental ones." | |
| Suggests that it is a mistake that acousticians and psychologists make when they assume that hearing a sound as an event requires higher and independent thought processes (because this requires memory and experience) because the sound (these people assume) does not carry such information itself. | |
| Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory perception. Ecological Psychology, 5(1), 1–29. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 00:12 | |
| Points out that "concatenating the creak of a heavy door closing slowly with the slap of a light door slammed shut would be likely to sound quite unnatural." This is an example of higher level attributes of sound events not usually studied by acousticians. | |
Notes that sound FX CDs usually categorize by context although there is usually some further description of sound objects' hierarchy and physical properties. "A hierarchical framework that describes sounds' attributes and dimensions thus seems more likely to be generative, to delineate a space of possible sounds, rather than context-based classifications." p.21A simple hierarchy might be:  p.22while a more complex hierarchy might be:  p.24Notes that his preliminary categorisation into solid, liquid and gaseous sound does not cover all eventualities. What about fire? |
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Distinguishes between musical listening (perception of a sound based on its pitch, loudness, temporal change, timbre and masking) and everyday listening (perception of the sound event itself and its environment). This is an experiential distinction or a perceptual one since any sound can be listened to in either listening mode. cf. Chion (1994, pp.25–34) etc. |
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| A reminder that because the scientific study of sound springs from research into musical acoustics (pitch, loudness etc.), little is known of other modes of auditory perception (e.g. how do we know if someone is walking up or down stairs?). The traditional approach argues that the knowledge about a sound event (ie. everyday listening) relies on experience and memory. | |
| If an object's size is changed, the frequency of sound it emits changes too - frequency being the most significant factor of change among others. Therefore, a change in frequency is usually perceived as a change in size of the sound object. | |
| If radiant/direct sound is sensed it arrives at the ear before reflected/reverberant sound. For this reason is is possible to separate information about the sound from information about the environment. Additionally, the medium itself affects sound (e.g. high frequency loss in air) and changes in loudness and/or frequency usually indicate shifting sound (Doppler effect etc.). | |
| Recounting a third-party experiment, Gaver notes that most participants could distinguish between and estimate the size of objects dropped into water. | |
| Howard, D. M., & Angus, J. (1996). Acoustics and psychoacoustics. Oxford: Focal Press. |
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| Added by: Mark Grimshaw-Aagaard 10/02/2014, 07:47 | |
| "At a physical level sound is simply a mechanical disturbance of the medium, which may be air, or a solid, liquid or other gas. However, such a simplistic description is not very useful as it provides no information about the way this disturbance travels, or any of its characteristics other than the requirement for a medium in order for it to propagate. What is required is a more accurate description which can be used to make predictions of the behaviour of sound in a variety of contexts." | |
| Johnson, K. (1997). Acoustics and auditory phonetics. Oxford: Blackwell. |
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| Added by: Mark Grimshaw-Aagaard 11/09/2004, 13:32 | |
| Miller, M., Van Wyk, K., & Murphy, K. (2014). A review of hospital noise studies. Journal of the Acoustical Society of America, 135(2402). |
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| Added by: Mark Grimshaw-Aagaard 11/03/2018, 20:43 | |
| Rheingold, H. (1991). Virtual reality: The revolutionary technology of computer-generated artificial worlds -- and how it promises and threatens to transform business and society. New York: Summit Books. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/04/2005, 20:58 | |
| A description of the Convolvotron developed at NASA/Ames Laboratory in the late 1980s. Basically an early HRTF system modelling the human outer ears' perception of audio. Interesting for a mention of historical work in the positioning of sound in 3D virtual reality and early use of the term 'auditory visualization'. | |
| Shinn-Cunningham, B. 2001, May 26–29. Localizing sound in rooms. Paper presented at ACM SIGGRAPH and Eurographics Campfire: Acoustic Rendering for Virtual Environments, Snowbird, Utah. |
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| Added by: Mark Grimshaw-Aagaard 30/08/2005, 11:06 | |
| Shinn-Cunningham, B. G. 2004, April 4–9. The perceptual consequences of creating a realistic, reverberant 3-D audio display. Paper presented at The International Congress on Acoustics, Kyoto, Japan. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 02/02/2006, 12:48 | |
| Shinn-Cunningham, B. G., Lin, I.-F., & Streeter, T. 2005, July 22–27. Trading directional accuracy for realism in virtual auditory display. Paper presented at 1st. International Conference on Virtual Reality. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 01/09/2005, 14:19 | |
| "...even low levels of reverberant energy cause significant degradations in directional localization performance. In particular, directional localization accuracy is likely to be degraded whenever reverberation is included in a virtual auditory display, at least for lateral sources. However, reverberant energy is necessary to allow accurate distance perception and to improve the subjective realism of a virtual auditory display. ...the benefits of adding reverberant energy to a virtual auditory display may often be worth any loss in localization accuracy for sources off to the sides of the listener." | |
| "...distance and direction are not perceptually independent." | |
| Shinn-Cunningham, B. 2001, August 5–10. Creating three dimensions in virtual auditory displays. Paper presented at International Cognitive Engineering, Intelligent Agents and Virtual Reality. |
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| Added by: Mark Grimshaw-Aagaard 26/08/2005, 15:57 | |
| Thapaliya, A., Sithole, A., Welsh, M., & Dana, G. (2024). Ultrasound physics and its application in medicine. Indianapolis, IN: PALNI Pressbooks. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2025, 05:01 | |
| Warren, W. H., & Verbrugge, R. R. (1984). Auditory perception of breaking and bouncing events: A case study in ecological acoustics. Journal of Experimental Psychology: Human Perception and Performance, 10(5), 704–712. |
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| Added by: Mark Grimshaw-Aagaard 26/04/2013, 09:53 | |
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Quoting Schubert*: "Schubert (1974) put this succinctly in his source identification principle for auditory perception: "Identification of sound sources, and the behavior of those sources, is the primary task of the [auditory] system" (p.126)." * (Schubert 1975) |
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Reviewing previous work in the field: "These results support the general claim that sound in isolation permits accurate identification of classes of sound-producing events when the temporal structure of the sound is specific to the mechanical activity of the source (Gibson, 1966; Schubert, 1974)."* * |