bluuebunny/crossref_metadata_2025 huggingface dataset:
Soundwalking Homes in Design Ethnography
Authors: Stine S. Johansen and Peter Axel Nielsen
Published: December 2024

In this paper, we investigate the use of soundwalks in a design ethnographical study. For this study we introduced the concept of sound zones to participants from different households and used soundwalks to enable them to discuss the concept, which would, ideally, reveal design opportunities and constraints. Soundwalks have been used in urban planning to achieve insights regarding resident perceptions of the soundscape in a local environment. As an additional positive offshoot, interaction design studies has used the method to build awareness among people living in a particular environment. With this paper, we provide insights into what can be gained from using soundwalks to engage participants in an abductive process and discussion about the concept and idea of sound zone technology. We present three specific ways that recorded, self-guided soundwalks supported this process: Establishing design conditions, enabling unexpected sounds, and supporting embodied experiences. We relate this to the theoretical constructs of temporality and abduction and thereby extend the soundwalk method to support reflections about possible futures of implementing a design.
Acoustic Territories of the Body: Headphone Listening, Embodied Space, and the Phenomenology of Sonic Homeliness
Authors: Jacob Kingsbury Downs
Published: December 2024

Can we describe certain sonic experiences as “homely,” even when they take place outside of a traditional home-space? While phenomenological accounts of home abound, with writers detailing a rich spectrum of the felt characteristics of the homely including safety, familiarity, and affective “warmth,” there is a scarcity of research into sonic experience that engages with such literatures. With specific interest in the experience of embodied space, I account here for what might be termed feelings of “sonic homeliness” as they emerge during headphone listening. After forming a conceptual model of homeliness that draws from phenomenological philosophy, I investigate its applicability to experiences of headphone listening. Through analysis of primary interview data, I consider how headphones may be said to territorialize space for listeners, analyzing how sonic “boundaries” are experienced in relation to the body, as well as how some listeners describe their experiences as interiorized, comforting, and “wombic.”
Composing for the Memory Dealer: New Paradigms for the Immersive Soundtrack
Authors: Alex Kolassa
Published: December 2024

The task of producing a score for new experiential types of media and transmedia presents a number of exciting possibilities for the composer. Indeed, the musical experience is a profoundly personal one; deeply held and ideologically informed expectations could risk limiting the role of music in exploratory new pervasive drama pieces to a pseudo-filmic Muzak. Just as the traditional modes of story-telling are rethought and exploded across a new and emergent diegetic plane, the role of music should likewise be radically rethought so as to rewrite its immersive potential.

Drawing upon my experience as composer for The Memory Dealer, this article will give critical insight into the collaborative process of both composing and realizing the soundtrack for new emergent, adaptive, and pervasive theatre works. It offers a discussion of my own creative processes and aesthetic concerns as well as an in-depth account of the technological and collaborative realities of this particular project.
Locating Her Kind
Authors: Harsha Menon
Published: December 2024

“Locating Her Kind,” a sonic essay in the form of a 15-minute HD video with sound, is a gender critique exploring female voices as discarded and silenced.
1. Learning the shape of racist rooms
Authors: Rajni Shah
Published: December 2024

The writing that follows (interspersed between other articles) is a series of personal reflections on “listening” – a term which, for me, refers to an embodied attentive state, including but not limited to the ears. I write from my own experiences as a trans non-binary person of colour and reflect specifically on the ways in which listening work relates to anti-racist and anti-colonial work. Within the writing, certain words are hyperlinks. These are offered as moments of dialogue – moments where you are invited, if you wish, to read other texts that are in relationship with the particular word, phrase, or idea that is linked. At the end of the section titled “4. Portals,” there is a short list of links to artists and authors who are directly mentioned in the text as well as a list of further references in case they are of interest.
Ideologies of Sound: Longing for presence from the eighteenth century until today
Authors: Nicola Gess
Published: December 2024

This essay began with a suspicion and a discomfort. The suspicion was that the pervasive theoretical interest in sound and music in recent years is connected with the simultaneous popularity of an aesthetics of presence in philosophical discourse. For music has time and again been appealed to as part of the search for preconceptual sensory experience, for immediacy, bodily presence, or states of immersion. The discomfort was that such appeals are often connected with an ideologically motivated understanding of music that ultimately has little to do with a historically informed, critical and concrete examination of music as an art form. Instead, this appeal is often accompanied by a return to the past that is motivated by cultural criticism: a lost essence (of language, art, community) is sought and rediscovered in music or sound, as is the experience of immediacy and bodily presence. The long tradition of this entanglement of art and ideology in philosophies of music can be traced in texts by, among others, Rousseau, Wackenroder, Nietzsche, and Bloch; today, it reappears in the work of philosophers of presence and sound theorists.
From Particle Data to Particular Sounds: Reflections on The Affordances of Contemporary Sonification Practices
Authors: Thomas Bjørnsten
Published: December 2024

This article reflects on recent notions about data sonification within sound-based experimental and artistic practices. The intention is not to survey the current state of data sonification methods and techniques as such, but rather to suggest a number of selected points of critique for addressing specific assumptions about processes and discourses related to what we may broadly refer to as sonification. Furthermore, these issues will be addressed by critically asking what we understand by “data” in the first place, as something susceptible to be turned into actual sounding material. Considering how specific discourses and cultural understandings frame contemporary notions of data, the article also includes different examples of alternative, exploratory practices. Thus, one of the aims will partly be to open up a transdisciplinary discussion about the critical affordances and potential pitfalls of data sonification seen both as an aesthetic and a knowledge-producing practice. This involves not only attention toward strictly academic and scientific settings, but also relates to how data sonification ventures are being communicated within broader societal, cultural and art institutional contexts.
On the Performance of Sound. The Acoustic Territory of Post-War Sarajevo
Authors: Evy Schubert
Published: December 2024

This article concludes a research on the acoustic territory of post-war Sarajevo and a history of its acoustic performance. It will demonstrate the results of the investigation of the participation, contribution and perception of the selected soundscape in terms of its socio-political context.

The research focused on two primary questions. First: can urban sound be a direct mirror image of the underlying socio-political condition and, thus, a performance of its source? Second: can, therefore, political peace have its own sound?

For this research, the city of Sarajevo, Bosnia and Herzegovina, was chosen. There were two main reasons for its selection, one geographical and the other historical. Sarajevo lies in a narrow valley and is surrounded by hills, a geography comparable to an old Greek amphitheatre, with many of the same acoustic implications. On the mountaintops surrounding the city, you can hear the total sound image as well as detect singular sounds. During the war, between 1992 and 1995, these mountaintops were occupied by Serbian military forces, creating a circular front line without exit that isolated the city from the rest of the country and the world. This led to the assumption that Sarajevo must have a unique and rare acoustic history.
We Three, Kinged: Crowning the Aural on 9/11
Authors: Isaac Vayo
Published: December 2024

This study examines the present predominance of visuality in relation to narratives of 9/11, concluding that aurality, typically undervalued in such conversations, is a more accurate and effective representation of 9/11-as-event. Within the broader field of 9/11 aurality, three specific examples are subject to more lengthy analysis in terms of their original context and their presentation to audiences via popular media: the voices of pilot-hijackers Mohamed Atta and Ziad Jarrah, the impacts of those jumping from the burning World Trade Center towers, and George W. Bush’s 14 September 2001 speech delivered from atop the rubble at the World Trade Center site. 9/11 aurality, then, succeeds where the visual imagination fails, allowing its account of the event to persist generationally, its internal logic to exist rationally, and its chief interlocutor, Osama bin Laden, to continue the discourse verbally.
Instrumental Operations in the Urban Assemblage
Authors: Colin Ripley
Published: December 2024

Two major developments in architectural thinking of the past decade: an emerging interest in atmospheric design, on the one hand, and developments in responsive architectures, on the other, have produced a fertile ground for responsive acoustic environments. After a brief discussion of recent projects by the author’s research group in which acoustic environments and their human occupants are considered to be components of a single system, the paper speculates regarding the potential impact of such systems on the contemporary urban environment.
From Foley to Function: A Pedagogical Approach to Sound Design for Novel Interactions
Authors: Daniel Hug
Published: December 2024

Increasingly, devices of everyday use employ computing technology. Due to small or absent screens and their ubiquity in the environment, these interactive commodities might benefit from the consideration of sound in their design and use. However, the criteria for appropriate, enjoyable and useful sonic interactions and suitable pedagogical methods for educating future designers in this area still remain to be explored.
We want to encourage design students to create “sounds for tomorrow” in an explorative way, inspired by the sound pioneers of “New Hollywood,” who employed techniques of the avant-garde to establish new sonic identities. We implemented a design process in a workshop setting, continuously scrutinizing sound design and interpretational strategies. The process evolved over three connected stages: Foley-based and electroacoustic Wizard-of-Oz mockups and functional prototypes. Real time sound making, performance of interactions, and critical reflection on the aforementioned are central to our approach. In this article, we elaborate on the method, discuss design cases, and present pedagogical insights.
Introduction: Exploring the Phenomenon of Sonic Waste in Anthropology
Authors: Heikki Wilenius  , Jonathan LARCHER
Published: December 2024

The introduction to this special issue of The Journal of Sonic Studies addresses the concept of sonic waste in anthropological research. Stemming from a laboratory session titled "Rubbish, Noise, Experimentations: New Afterlives of Field Recordings" at the 2020 European Association of Social Anthropologists conference, this collection reconsiders ethnographic recordings traditionally categorized as noise or errors. The text sets the stage for the ensuing contributions that critically engage with discarded audio materials, challenging the long-standing emphasis on clarity and precision in field recordings.

This introduction explores the notion of “ethnographic rubbish” – recordings that fall outside the ethnographer's initial analytical framework – and positions this rubbish as worthy of scholarly attention. It argues for the inclusion of these “noisy” artifacts in the broader ethnographic narrative, suggesting that they can offer unique insights into the affective and infrastructural aspects of the researched environments. By foregrounding the materiality of sound and advocating for a multimodal ethnographic approach, this introduction invites a reassessment of what constitutes valuable data.
SEVEN METAPHORS FOR (MUSIC) LISTENING: DRAMaTIC
Authors: Joshua Banks Mailman
Published: December 2024

This essay probes the nature of listening by refusing to pin it down to a single essence. The epistemological value of metaphor is explained in terms of the cognitive metaphor and embodied mind theories of Lakoff and Johnson as well as the philosophies of Rorty and Fiumara. Then the various natures of listening are explained via seven metaphors: (1) Digestion, (2) Recording, (3) Adaptation, (4) Meditation, (5) Transport, (6) Improvisation, and (7) Computation. As a positive example, this set of metaphors promotes recognition of the inherent plurality of listening by staking out distinct facets which cannot be reduced to one another. This irreducibility is made more vivid and conceptually manageable by associating each of these facets with more concrete activities that are literally irreducible, or indeed seemingly unrelated. Moreover, some of these metaphors suggest the complementary and sometimes interdependent nature of diverse aspects of listening.
FROM EPISTEMOLOGY TO CREATIVITY: A PERSONAL VIEW
Authors: Barry Truax
Published: December 2024

An epistemological model of sound is proposed involving information derived from the inner structure of sound as interpreted by the listener’s contextual knowledge. In the author’s soundscape compositions, the sound material is elaborated using contemporary digital signal processing techniques, while maintaining listener recognizability, and the structure of the work and its narrative are guided by the composer’s contextual knowledge of the real world.
OA#1: LISTENING AND MAPPING THE SONIC. PLURALITY AND WAYFARING: WRITING THE OPENSOUND PROJECT
Authors: J. Milo Taylor
Published: December 2024

Wayfaring, I believe, is the most fundamental mode by which living beings, both human and non-human, inhabit the earth. By habitation I do not mean taking one’s place in a world that has been prepared in advance for the populations that arrive to reside there. The inhabitant is rather one who participates from within in the very process of the world’s continual coming into being and who, in laying a trail of life, contributes to its weave and texture. (Ingold 2007: 81)
Football Soundscapes of Java
Authors: Andy Fuller
Published: December 2024

Singing, chanting and the identification of some genres of music with particular clubs is an essential part of football culture. Stadium atmosphere is created through a combination of elements – smoke bombs, crowd densities, lighting, banners, and shouting – but the most intense and focused manner is through the rehearsed and conducted chanting. The range, originality, and loudness of chanting is the lure for fan groups, and an essential element of ultra fandom (Doidge and Lieser 2013; Kytö 2011). The Pasoepati supporter group of Solo, for example, draws on a range of musical styles and supporter chants to create its own soundscape in which their support for Persis Solo is articulated. During Persis Solo games, the Manahan Stadium becomes a site in which a Persis Solo-Pasoepati soundscape is created; rival clubs, such as Persebaya and PSIM, and their respective fan groups, also articulate their own soundscapes. The chanting is a part of global football culture and mediated through local cultural practices and values. This paper explores the sonic rituals –chanting and singing – that create a sense of community, based around a football team and city.
Post-Natural Sound Arts
Authors: Mark Peter Wright
Published: December 2024

This article argues for a new critical perspective called “Post-Natural Sound Arts” (PNSA). Its focus resides within the context of environmental sound arts and disciplines such as field recording, acoustic ecology and soundscape studies. PNSA questions entanglements of power and agency between recordists and their subjects and produces new epistemological consequences in relation to silence, subjectivity and technology.

By discussing historical and contemporary audio documents, the author demonstrates how sonic representations are part of an interlacing of geographies, media, and time. These recordings harbor trace evidence of anthropogenic incursion and are re-heard in order to question a history of non-impact within the practice of environmental sound arts. PNSA therefore aims to function as both an audial-analytical methodology and instigator for artistic praxis.
Noise Pollution and Sound Beyond “Sound”
Authors: SHLUK
Published: December 2024

The Artistic Research project SHLUK focuses on the topics of noise pollution and sound beyond sound. For this purpose, it questions the (mis)conceptions behind the ideas of audible spectrum and “unwanted sound”. The group aims to put forward a proposal for political involvement with the environment, namely through the practice of field recordings. In this case, the collection of sounds in a specific neighborhood in Prague (Barrandov) carries the bond to discuss these practices. Moreover, the group proposes the idea of “deep recording“ as a device for a necessary acoustic revolution towards a less anthropocentric understanding of ecology.
JSS26 Editorial
Authors: Vincent Meelberg
Published: December 2024

Every now and then JSS publishes a non-themed issue. What happens in general is that, over several months, people have submitted papers outside of a call for papers, or outside a thematic issue that is planned. After having collected enough of those papers, we start the usual (external) peer review and editing processes and publish an issue that has no focus on one theme which will be explored in depth, but one that presents the versatility and width of contemporary sound studies and/or sound art.
Phonograph, symbolic. Acoustic Evidence in Arno Holz’ Phantasus
Authors: Thomas Forrer
Published: December 2024

The fundamental innovations in modern German verse around 1900 can be ascribed to the emergence of technological media rather than to a deliberate departure from metrical tradition. In 1879, Friedrich Nietzsche had already approached a new style of writing that emulated the performance of oral speech and its singular visual and acoustic phenomena that had become recordable with photography and, as of 1877, with the Edison phonograph. In this article I will focus on the “phonographic” writing techniques of the German naturalist-poet Arno Holz that take the insurmountable difference between the medium of writing and the singular acoustic happening as their precondition. A technique that can be called “acoustic evidence,” employed in Holz’s cycle of poems *Phantasus* (1898ff.), indicates sounds not through writing traditional musical notation or alphabetic letters, but rather by crossing out writing. In this way, Holz’s verses indirectly reference the new “orchestra of life” that Edison’s phonograph had brought into the discourse.
Writing the Ephemeral. John Cage’s Lecture on Nothing as a Landmark in Media History
Authors: Simon Aeberhard
Published: December 2024

John Cage’s Lecture on Nothing is one of his early, legendarily forbidding speeches first held in 1950. The score of the lecture can be understood as a reaction to one of the most momentous cuts in twentieth century’s media history. Cage’s lecture overtly responds to the establishment of the electromagnetic recording, storing and distributing of acoustic material after World War II by reflecting on these technical developments. The text, however, also accurately and subtly reacts to the profound destabilization of the relationship between literacy and orality triggered by these inventions by applying new methods of writing.
Seen as such, the Lecture on Nothing can be connected to Cage’s electronic music on audiotape, Williams Mix for example, and his elaboration of 4’33”, which forms the basis of his “silent pieces.” What unifies these three contemporaneous, but essentially different, works is their thought-provoking semantic emptiness. This article argues that these works are best understood as an artist’s quest for an adequate semiotic means of writing an aural event after electroacoustic media have become widely accessible.
Listening to the Body Moving: Auscultation, Sound, and Music in the Early Nineteenth Century
Authors: Janina Wellmann
Published: December 2024

This paper explores the sounds of the body in an era before sound could be recorded as sound, the first half of the nineteenth century. Focusing on the French physician René Théophile Laennec’s study of cardiac disease and in particular his use of auscultation, it asks how the early nineteenth century conceived of a sounding living body, specifically how auscultation and body sounds produced new knowledge about the body, health, and disease. I show that Laennec thought of the body and the heart in terms of a musical instrument, and argue that the limits to auscultation’s diagnostic power lay not so much in its inability fully to explain disease as in Laennec’s analogy of body and musical instrument, medical understanding and musical skill. This soon gave way to a new understanding and soundscape of the body, as nineteenth-century physiologists investigated the body with instruments that could penetrate the body ever more deeply.
Silencing Urban Exhalations: a case study of student-led soundscape design
Authors: Jordan Lacey
Published: December 2024

This paper describes a practice-led soundscape studies project in which students created sound interventions to transform the “voice of the city.” A loud exhaust fan outlet dominated the site, and students were asked to create a soundscape intervention in response to an imaginative-artistic question: the exhaust outlet is the voice of the city, speaking; can this voice be deciphered, transformed, augmented? Students responded with live sound-art, musical and electroacoustic performances played through loudspeakers placed adjacent to the exhaust outlet, and physical changes to the environment with interactive sound-making artifacts. The intervention was informed by the acoustic ecology movement’s maxim that acoustic design and the “retrieval of a significant aural culture” is a “task for everyone” (Schafer 1977: 206); thus, students were encouraged to listen and creatively respond to the dominant sound. Students were introduced to a mixture of acoustic ecology listening exercises and structural approaches derived from the Research Centre on Sonic Space and the Urban Environment (CRESSON). The project aimed to demonstrate that with the assistance of educational resources, city dwellers, given the opportunity to creatively interact with city sounds, might revitalize their own city-relationship through participatory soundscape design.
“City Noise”: Sound (Art) and Disaster
Authors: Frans Ari Prasetyo
Published: December 2024

My sonic work “City Noise” proposes both an artistic and a theoretical approach to the city-sound relationship. The default assumption about this relationship is that sounds reflect a one-to-one relationship between soundscape and landscape, both drawing upon and revealing the physical and social landscapes from which they originate. However, the question can be posed regarding whether there actually is a direct relationship between sound and place in our increasingly globalized world. Due to this globalization, the relation between the local and the global has become more fluid, and the relation between sounds and scapes has begun to blur.
Noise as “sound out of place”: investigating the links between Mary Douglas’ work on dirt and sound studies research
Authors: Hugh Pickering  , Tom Rice
Published: December 2024

“Noise” is an important subject in sound studies research. However, due in large part to the fact that judgements about what constitutes noise are highly subjective, researchers have often struggled to define it. Where attempts have been made, many have settled on a definition of noise as “sound out of place,” a reformulation of Mary Douglas’ definition of “dirt” as “matter out of place” (Douglas 1966: 44). Beyond this, however, no effort has been directed towards exploring the link between dirt and noise or seeing how far the analogy between the two extends. This article corrects this omission by undertaking a close reading of Douglas’ writing on “dirt” and linking it to contemporary sound studies research. It argues that far more than simply giving rise to the definition “sound out of place,” Douglas’ classic anthropological work can be used as the basis for an integrated “theory of noise,” deepening our understanding of what it means when we describe a sound as “noise” and drawing attention to the ambiguous, transgressive and dangerous qualities and potentials of noise.
Listening like White Nationalists at a Civil Rights Rally
Authors: Bryce Peake
Published: December 2024

This soundscape and accompanying essay explore the listened-to world of white nationalists protesting a 2015 civil rights rally in the United States. Marked by countless instances of police brutality and a racially motivated mass shooting, the autumn months of 2015 echoed with the rallying cries of Black Lives Matter… cries that stoked white nationalists’ nascent conspiracy theories about white genocide and an impending “race war” between black Islam and white Christendom. Both the new Civil Rights movement and these white nationalist fears came to a head at the Justice or Else Rally in October 2015. This essay explores the acoustemological – acoustic and epistemological – world of white nationalists protesting Justice or Else, using the nexus of creativity and empiricism to understand a white nationalist standpoint acoustemology proliferating in Donald Trump’s United States.
Fugue States
Authors: Tyler Shoemaker
Published: December 2024

This paper situates the work of installation artist Bartholomäus Traubeck at the crossroads of sonic materialism (Cox 2011) and recent debates among new media theorists concerned with the nature of mediation (Kember and Zylinska 2012; Grusin 2015). Picking up on what Richard Grusin has called “radical mediation," I examine how expanded theories of mediation jeopardize medium specificity, and I do so within an exhibition of Traubeck's works. The latter carefully constructs assemblages out of easily identifiable objects. But once turned on, these installations produce ambient soundscapes that quickly blur the borders between their constituent elements. Their processes slip by auditory perception, generating slippages between media devices along the way. However, these instances of ambience do not elide the necessity for returning to the devices undergirding them, a move Traubeck's pieces constantly encourage. Insisting on the importance this return, and in a corrective to radical mediation, I look simultaneously to neurophysical accounts of auditory perception and Félix Guattari's Chaosmosis (1995) to place sonic media alongside the latter's axiological appraisals.
The Cave and Church in Tomba Emmanuelle. Some Notes on the Ritual Use of Room Acoustics.
Authors: Petter Snekkestad
Published: December 2024

This article explores the acoustics of the Emanuel Vigeland Mausoleum through an associative history of reverberation. In particular, the sensory combination of reverberation and the fresco Vita in the darkened mausoleum echoes that of sound experiences in painted prehistoric caves and medieval churches. I will also touch upon the notion of demarcation as a third ritual effect in these spaces.
Materials of Sound: Sound As (More Than) Sound
Authors: Caleb Kelly
Published: December 2024

By examining the materials that produce sound within contemporary art, we can approach sounding works not only from the perspective of “sound as sound” or “sound in itself” but rather as “sound as more than sound.” Sound can never be without a history, culture, or political situation, and by approaching sounding practices in the same manner as we critically approach contemporary art practices, we allow matter to matter.
Len Lye’s Kinetic Experiments: Sounds of Sculpture
Authors: Sarah Wall
Published: December 2024

When New Zealand artist Len Lye branched out into kinetic sculpture in 1958, his conceptualization was intimately connected to music. In the same way that some dance can enhance the music that accompanies it, Lye proposed that his kinetic sculpture was also naturally suited to this function as, like dance, its foundation is movement (Lye 1958: 7). Witnessing Lye’s steel sculptures in motion is a highly corporeal experience, with the sounds produced by their movements a key element in their sensory impact and appeal. To further strengthen the affective qualities of his sculpture, over a span of ten years Lye carried out numerous experiments incorporating various techniques and technology from both music and film, culminating in the idea to record and make these new sounds available to musicians and composers as source material for their compositions (Smythe 2006: 2). Focusing on a number of key events and a set of audio recordings held in the Len Lye Foundation Archive, this paper considers how, through such experiments, Lye was able to situate his motion composition outside the visual arts and within the field of music composition, to be viewed as “musical instruments rather than visual kinetic works of art” (Lye n.d.-a:8). When considered in relation to Lye’s achievements as a filmmaker and a sculptor, the audio recordings are easily dismissed as an interesting but isolated experiment. Driven by extensive primary research material, my aim here is to revisit and reappraise Lye’s experiments with sound, placing them within a critical framework informed by consideration of his working across the disciplines of experimental film, sculpture, and music.
The Planetorium: Sonic Information Design for Earthling Audiences
Authors: R. Michael Winters  , Avrosh Kumar
Published: December 2024

For millennia, humans have looked into the night sky and wondered at what they saw. This curiosity led them to develop instruments that enabled them to look deeply into space, which revealed celestial bodies in ever-greater detail. They developed new mathematics and physics to better understand and predict the cosmos and began to teach each other, pointing to what they knew to be true. Sadly, as the objective facts and figures poured in with ever-increasing precision, the oral traditions of myths, stories, and gods began to fade from view.

In the past century, some humans have worked to cultivate a new technology that would allow humans to use their ears to hear the objects that, before, they could only see. By transforming numbers into sound, humans could listen again, which made those who could hear it very happy. However, others did not comprehend it, became confused, and began to ask one another: How can I make sense of something I cannot see? How do I know what I am hearing is true? Is this some kind of music, or something else altogether?

In this paper, we use “The Planetorium” as a metaphor and context for understanding how we might best design aural celestial experiences for earthling audiences. Audiences are groups of individual humans all listening to the same thing at the same place for some length of time. And while planetariums are places they go to learn about space through stunning views and new perspectives, planetoriums (like auditoriums) are places they go to listen.
JSS TOCs
Authors: Journal of Sonic Studies
Published: December 2024

Table of contents JSS issues
Navegando hacia un sur sonoro: Two Sound Stories From South America
Authors: Leandro Pisano
Published: December 2024

As a moving and expanding terrain, sound art in South America is a research, application and sharing environment for a work developed by at least three decades of artists who have experimented with methods and processes in which sound intersects with digital technologies and with unconventional approaches to listening. The text presented here focuses specifically on two works produced within this extended context of practices, which offer many types of sound narration in which different elements emerge connected to the complexity of the levels of listening, even political in the South: Temporal de Santa Rosa by Brian Mackern, a recording and installation project that reinterprets popular, religious and traditional elements in a post-digital key and Antartica 1961-1996, an installation by Alejandra Pérez Núñez that investigates the imperceptibility of the political processes of appropriation of the Antarctic territory in recent decades by part of nation states.
Editorial
Authors: Pedro J S Vieira de Oliveira
Published: December 2024

Editorial for the Journal of Sonic Studies 19.
A Paleontology of Quiet
Authors: Neil Verma
Published: December 2024

This paper considers “close listening” in the context of classic America radio drama through a study of “The Thing on the Fourble Board,” a radio play by Wyllis Cooper. Although it is among the most esteemed works of dramatic audio in U.S. popular culture, the piece has seldom been engaged critically. Doing “readings” of radio drama is a rare activity to begin with, and this play is especially elusive because its features exceed the common preoccupations of theory of radio dramatic technique. Following Jonathan Sterne’s proposal to blend “sonic imaginations” with other fields of thought and practice, I take a new approach, heeding Cooper’s odd “geological” aesthetic and arguing that the play offers an idea of “auditory fossilization.” Building on some of my earlier work that considers classic radio drama as a mineralized transmission, I further propose the “sound fossil” as a heuristic to help us conceptualize the form as a whole as it exists in our time. This nearly extinct yet modern genre has always been a kind of objet sonore, surely, inasmuch as it occupies a “theater of the mind” whose pleasure rests on a disavowal of its own production, but radio drama is also increasingly a sonorous “thing,” defined by glitches and errors in the preserved audio that point toward a struggle against – and requirement of – materiality. According to this model, to critically engage with a recorded drama is to unearth these two underground counterpressures, and close listening is both a mode of reading and one of excavation.
Affective Soundscape Composition for Evoking Sonic Immersion
Authors: Mehdi Mark Nazemi
Published: December 2024

In 2012, I came to a realization in Barry Truax’s graduate course, Acoustic Dimensions of Communication, that there might be a potential to use concepts from the acoustic communication model and research from the acoustic ecology community to shift paradigms in healthcare research. What started as an idea written in a moleskin notebook has now led to a body of work that transfers knowledge from the soundscape community to health sciences. Although this research is in its nascent stage, the use of media, specifically audio recordings, pervades several well-known approaches to pain management and anxiety. However, there remains consideration of the potentiality of using deep listening techniques, specifically recordings of mediated spaces as a tool for analgesic purposes. Mediated spaces can be conceived of as exploratory spaces that use the principles of soundwalks and soundscapes to create an experience for the patient that simulates an environment through the means of audio playback of binaural recordings. In this research, careful attention was placed towards creating specific soundwalks that produce a distinct auditory quality, which helps bring the attention of the patient to focus on three intertwined levels: a micro-narrated experience – heightening a visceral sensation as they engage with the sounds, the structure of the soundscape composed using binaural recording, and the sounds of real-time physical presence, such as walking or sounds of children playing in the environment. This approach allows the patient to self-orient himself or herself in a new environment, minimizing tension, and encourages them to reactively become attentive to the sites and sounds in the recordings. Therefore, this novel approach is one of the first attempts at improving the psychological experience of patients in clinics by immersing them in a sonic milieu.
Multiple Perceptions of the Everyday Unfolded: The Case Study of Sunnyside
Authors: Matilde Meireles
Published: December 2024

This article introduces the project "Sunnyside", an album and composition created using extended recording techniques inside the domestic space of my home during the initial Covid-19 lockdown in Belfast in 2020. While there was widespread public discourse around the ways in which public and outdoor spaces were changing during the pandemic, there was relatively little discussion concerning the changes occurring in indoor and domestic spaces. "Sunnyside" was an attempt to sense, analyze, and represent those changes and examine what they might mean. The following discussion draws on ideas of critical phonography, systems theory, situated knowledge, and interconnectivity to illustrate the project’s refusal of the physical boundaries of the home under lockdown. This critical reflection on everyday routines underscores the project’s relationship with memory, place, and the sonic documentation of everyday personal auditory experiences while opening up a discussion about social networks, both immediate and distributed.
Continuous Glucose Monitor Accuracy for Diabetes Management in Hospitalized Children
Authors: Garg Neha , Lewis Kamryn , White Perrin C. , Adhikari Soumya
Published: December 2024

OBJECTIVE

The adoption of continuous glucose monitors (CGMs) in inpatient settings in the pediatric population has been slow because of a scarcity of data on their reliability in hospitalized children.

RESEARCH DESIGN AND METHODS

We retrospectively reviewed the accuracy of the Dexcom G6 CGM system in pediatric patients with diabetes admitted to our academic children’s hospital from March 2018 to September 2023. We cross-referenced the Dexcom Clarity database against an internal database of inpatient admissions to identify all children with CGM data admitted to the hospital. We recorded sensor glucose readings from Clarity and values for point-of-care (POC) glucose, blood urea nitrogen (BUN), and pH from the electronic medical record. CGM accuracy and clinical reliability were measured by mean absolute relative difference (MARD) and Clarke error grid (CEG) analyses.

RESULTS

There were 3,200 admissions of children with diabetes in this period, of which 277 (from 202 patients age 2–18 years) had associated CGM data. Paired CGM and POC measurements (n = 2,904) were compared, resulting in an MARD of 15.9%, with 96.6% of the values in zones A and B of the CEG analysis. Approximately 62% of paired values fell within a 15% or 15 mg/dL difference, whichever was larger (15%/15 mg/dL range), 74% within 20%/20, and 88% within 30%/30. Serum pH, sodium, and BUN had no impact on CGM values or absolute relative difference in linear regression analysis.

CONCLUSIONS

CGMs demonstrated acceptable accuracy in hospitalized children with diabetes. CGM data should be integrated into hospital electronic records to optimize management.
Compounded GLP-1 and Dual GIP/GLP-1 Receptor Agonists: A Statement from the American Diabetes Association
Authors: Neumiller Joshua J. , Bajaj Mandeep , Bannuru Raveendhara R. , McCoy Rozalina G. , Pekas Elizabeth J. , Segal Alissa R. , ElSayed Nuha A.
Published: December 2024

The use of glucagon-like peptide 1 receptor agonist (GLP-1 RA) and dual glucose-dependent insulinotropic polypeptide (GIP) and GLP-1 RA (GIP/GLP-1 RA) classes has increased substantially over the past several years for treating type 2 diabetes and obesity. Increased demand for these pharmacotherapies has resulted in temporary product shortages for both GLP-1 RA and dual GIP/GLP-1 RA medications. These shortages, in part, have led to entities producing and marketing compounded formulations that bypass regulatory measures, raising safety, quality, and efficacy concerns. Even as shortages resolve, compounded GLP-1 RA and GIP/GLP-1 RA products continue to be heavily marketed to people with diabetes and obesity. The purpose of this statement by the American Diabetes Association is to guide health care professionals and people with diabetes and/or obesity in these circumstances of medication unavailability to promote optimal care and medication use safety.
Diabetes Body Project: Acute effects of an eating disorder prevention program for young women with type 1 diabetes: a multi-national randomized trial
Authors: H.C.L. Hennekes Mareille , Haugvik Severina , de Wit Maartje , Toschi Elena , D. Desjardins Christopher , Skrivarhaug Torild , Dahl-Jørgensen Knut , Stice Eric , Wisting Line
Published: December 2024

Objective: Young women with type 1 diabetes are at risk to develop eating disorders (ED). We evaluated a novel ED prevention program in a multi-national randomized controlled trial. Research Design and Methods: Women (14-35 years) with type 1 diabetes were randomized to virtual Diabetes Body Project groups or educational control. Outcomes were assessed at pretest and posttest (1-2 weeks after intervention). Results: Compared to educational controls (n=146), participants in the Diabetes Body Project (n=147) showed significant improvements (all p<0.05) with small Cohen’s d effect sizes for ED symptoms (d=-0.30, CI -0.06,-0.69) (primary outcome), diabetes distress (d=-0.42), quality of life (d=0.39) and dietary restraint (d=-0.31), and medium effect sizes for diabetes-specific disordered eating behaviors (d=-0.70), body dissatisfaction (d=-0.59), and pursuit of thin appearance ideal (d=-0.56). Conclusions: The Diabetes Body Project produced significantly larger acute effects with small to medium effect sizes compared to educational controls and has potential for broad implementation.
Statistical Investigation of B-fields in Cores and Filaments using JCMT/SCUPOL Legacy Survey Archival Data
Authors: Porel Puja
Published: December 2024

SCUPOL, the polarimeter for SCUBA on the James Clerk Maxwell Telescope was used for polarization observations of 104
regions at 850 µm wavelength and 15” resolution in the mapping mode by Matthews BC, et al. [1]. They presented the
polarization values and magnetic field morphologies in these regions. In this work, we took the opportunity to use this big
legacy survey data to investigate further the collective statistical properties of the measured polarization in different starforming regions containing cores and filaments. We did not reproduce the polarization maps but used the polarization value
catalogs to investigate the statistics of distributions. In some of these regions, the data from Combined Array for Research in
Millimeter-wave Astronomy (CARMA) polarization observation at 1.3 mm wavelength and 2.”5 resolution was also available
from the TADPOL survey. We used that data and compared it with JCMT/SCUPOL values. We also study how the direction
of outflows appears to relate the mean B-field direction from large scale (JCMT observation at 15”) to small scale (CARMA
observation 2.5”) for the nine core regions common in both.
Kırsal Kalkınmada Odun Dışı Orman Ürünleri Üretimi Açısından Önemli Olan Defnenin (Laurus nobilis L.) Gelişimine Meşcere Kuruluş Özelliklerinin Etkisi
Authors: Atar Neslihan , Özel Halil Barış
Published: December 2024

Ülkemizde tüm kıyı şeridi boyunca geniş bir yayılış gösteren defne için uygun meşcere kuruluşunun araştırılması son derece önemlidir. Bu çalışmada, defne üretiminin yoğun olarak yapıldığı Bartın Orman İşletme Şefliğinde, farklı meşcere kuruluşlarının defne üretimine etkisi araştırılarak ormancılık uygulamaları konusunda temel veriler oluşturulmaya çalışılmıştır. Bu amaçla meşcere yapısını daha detaylı ortaya koymak için defnenin yayılış gösterdiği bölmelerde bilinçli örnekleme yöntemiyle 20 m x 20 m (400 m2) büyüklüğünde örnek alanlar alınmıştır. Örnekleme alanında meşcereye ilişkin kapalılık, tabakalılık, karışım oranı, orta çap (cm), orta boy (m), yaş gibi önemli meşcere parametreleri ile defnelerin m2’deki ocak sayısı, sürgün sayısı (adet), sürgün boyu (m), dip çapı (d0.30) uyuyan göz sayısı, m2’deki yaprak sayısı, yaprak eni (cm), yaprak boyu (cm) özellikleri tespit edilmiştir. Örnekleme alanlarının defne katında yapılan ölçümlerle elde edilen verilerin ana meşcerenin kapalılığı ve meşcere tipine göre nasıl değişim gösterdiğinin belirlenmesi için yapılan varyans analizinde istatistiksel olarak anlamlı (p
Aktif ve Pasif Uydu Görüntüleri Kullanılarak Saf Karaçam Meşcerelerinde Topraküstü Karbonun Tahmin Edilmesi
Authors: Şahan Erdal , Gunlu Alkan
Published: December 2024

Bu çalışma, Sinop Orman Bölge Müdürlüğü, Boyabat Orman İşletme Müdürlüğü, Elekçamı Orman İşletme Şefliği sınırları içerisinde yayılış gösteren saf karaçam meşcerelerinde gerçekleştirilmiştir. Çalışma kapsamında toplam 247 adet örnek alan verisi kullanılmıştır. Envanter verilerinden yararlanılarak her bir örnek alan için topraküstü karbon (TÜK) değerleri hesaplanmıştır. Her bir örnek alan için Landsat 5 TM bant yansıma ve vejetasyon indis, ALOS-PALSAR uydu görüntüsüne ait HH ve HV polarizasyonlarından parlaklık ve geri yansıtım ile örnek alanlara ilişkin eğim, bakı ve yükselti değerleri hesaplanmıştır. TÜK değerleri ile yukarıda açıklanan değişkenler arasındaki ilişkiler çoğul regresyon analizi ile modellenmiştir. Toplam 14 adet model geliştirilmiştir. Geliştirilen model başarıları incelendiğinde, Landsat 5 TM vejetasyon indis, ALOS-PALSAR parlaklık ve geri yansıtım değişkenleri ile eğim, bakı ve yükselti değerlerinin bağımsız değişkenler olarak yer aldığı modelde belirtme katsayısı (R_düz^2=0.655; Sy.x=0.18147) elde edilmiştir.