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Balance Unbalance 2015
Water, Climate & Place [Reimagining Environments]
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Hearing in Numbers Virtual Sound as Next Nature
Phylis Johnson, PhDSouthern Illinois University, Carbondale, IL USA
Jay Jay Jegathesan, PhD CandidateUniversity of Western Australia, Australia, Perth
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Sonification: Art & Science
Barass & Vickers (2011) point toward an open-ended process that includes perceptual & ethnographical data, and perhaps speculative theatrical representation of ecological sound and abstract data, and most relevant to virtual world designs those that incorporate first person avatar immersion as exhibited in computer games and platforms.
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Figure 2. The architecture of our real-time interactive system follows the sensing/processing/response paradigm. (LeGroux et al. 2007)
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Figure 9. This diagram shows the different type ofdata we are dealing with during the sonification process. (LeGroux et al. 2007)
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The Virtual Theater
Cinema of the FutureMorton Heilig, 1955
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Sound Design in Second Life
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Prim – Unit of Measurement
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Scripting the Prim
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Welcome to Virlantis
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Virlantis
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Virlantis
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Perceptual Placement
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Positioning Sound
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VIRTUAL WORLD SOUND DESIGNSound Prim Measurement
Sound Time Ambient LoopObject Unit
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Koert van Mensvoort
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Shopping for Virtual Sound
Acoustic Alchemy in Second life
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Sound Objects
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SL Sound Barriers
10 second limitations per clip
Every avatar hears sound differently
Client Settings – System & Client
ISP performanceLagLimited Playback options
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Break Sound Barriers
Hear sounds all aroundNo Time Limit on clipsRandomize volume - 11 PresetsPlayback flexibility (day, night options)
3D placement flexibility -variable borders without subdividing land into parcels (N, S, E, W, up, down)
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Virtu
al Soun
d Archi
ve
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Sonic Continuum (Toward Invisibility)
World Virtual Reality POV Avatar Human Placement Data Perceptual Locative Studio Field Purpose Archive Action Source Non-Present Present Dimensional Linear Layered Emotive Non-Referential Referential Memory Fragmented Immersive Medium Headphone Ear Sound Paths Waves Nature Visible Invisible
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Schaeffer to Schafer
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Reich, Cage, & Cardiff
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The Cage Museum
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Imaginary Soundscape
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Sonic Luggage
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Across Time & Soundscapes
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The Art of Noise
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Sonic Role Play
Why should we care?How will it help, hinder?Revisit, Reimagine, and
Speculate on What’s Next for Sound?
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Virtual Reality
Other Virtual Worlds and
Environments
Audio Avatars
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Virtual Dublin
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Discover Ireland
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John Cage
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Sources (cited in presentation)
Barrass, S., & Vickers, P. (2011). Sonification Design and Aesthetics. Sonification Handbook (pp. 145-171). Johnson, P. ( 2011), A Second Life for Sound: Crossing Sonic Paths in Virtual Worlds. Soundscape, 11 (1), 52-56. Kramer, G., Walker, B., Bonebright, T., Cook, P., Flowers, J. H., Miner, N. and John
Neuhoff, N. (1999). Sonification Report: Status of the Field and Research Agenda. Technical report, ICAD/NSF. McLuhan, M. (2005). Visual and Acoustic Space. In Christopher Cox & Daniel Warner (eds)., Audio Culture.
Readings in Modern Music, New York: Continuum, 67-72. Ong, W. J. (2012). Orality and Literacy: 30th Anniversary Edition. New York, NY: Routledge. Ribeiro, F., Florencio, D., Chou, P., and Zhang, Z. (2012). Auditory Augument Reality: Object Sonification for the
Visually Impaired. MMSP Proceedings: IEEE, September. Sample, Ian. (2015). 'Noise pollution makes us oblivious to nature.' The Guardian Weekly, February 27. Schafer, R. M (2004). The Music of the Environment. In Christopher Cox & Daniel Warner (eds.), Audio Culture.
Readings in Modern Music, New York: Continuum, 29-39 Schafer, R. Murray (1992). Music, Non-Music and the Soundscape. In John Paynter et al. (eds)., Companion to Contemporary
Musical Thought, London: Routledge, 34–45. The Interactive Sonification Workshop (ISON), 2013. van Mensvoort, Koert. (2012). Next Nature. Barcelona, Spain: Actar.
Additional references available upon request.
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