bluuebunny/crossref_metadata_2025 huggingface dataset:
SOUNDMAPPING: Critiques And Reflections On This New Publicly Engaging Medium
Authors: Jacqueline Waldock
Published: December 2024

Soundmaps have captured the imagination of acoustic communities, libraries and radio stations alike. These interactive maps have placed soundscape collections and research in a more public and interactive space than ever before. However, does this new form reflect some of the polarizations of past sound projects or are there new fractures to be considered, such as gender, economy and the domestic/public divide? This paper will reflect upon the challenges and hierarchies that have developed alongside this new medium and will begin to critique and question this new form of sound engagement.
Mapping Soundfields: A User’s Manual
Authors: Norie Neumark
Published: December 2024

This paper was written as a keynote address for ESSA 2014, Mapping the Field, where the conference organizers asked me to reflect on my own and others’ journeys between sound theory and sound practice. As a live presentation, focused on voice, my aim was to speak in a way that would invoke the journey and invite the audience to join me. To do this, I both took literally the conference’s trope of mapping, and also, in terms of style, wrote/spoke in a performative mode that does not always translate easily into a written form. While I have adapted that address for written publication here, I have chosen to leave some traces of the aural mode, because in my view it speaks to the specific task of evoking a (theoretical and practical) journey. I have also retained the voice of situated knowledge, even if I have curbed some of its more poetic and emphatic spoken moments, because it resonates with the aim of reflecting on my own and others’ journeys, as I hope will unfold in the paper below.
Sound and Immersion in Timekiller Games
Authors: Anahid Kassabian
Published: December 2024

In this article, I consider the role of sound in the immersive experience of “timekiller games.” “Timekiller games” as I define them here are a subset of casual games that are mainly played on smartphones and browsers, and while there are many subgenres, they share an ability not only to use up significant chunks of player time, but for the most part to “kill time” while waiting, winding down, procrastinating, and so on. I argue that the hyperreality of these games’ sounds, which imply physical reality much more vividly than the games’ visual designs, is one important component that helps to keep players immersed in the game world. Immersion in video games is overdetermined, and the choice of hyperreal sounds is one among a number of strategies that intersect and overlap to create an immersive experience particular to timekiller games. As the games get more challenging, requiring more and more focus, they shift roles in the attention economy, demanding more attention (as suggested by the idea of “challenge-based immersion” [Ermi and Mäyrä 2005]). This immersive experience is a kind of affective labor in which players produce affective value for the company and the industry and which is converted back and forth into “pay to win” in-app/in-game purchases. The games thus have a mixed economic form, in which their revenue streams come from a combination of initial purchases (though often these games are free to download), banner advertising at the bottom of the screen, and in-app purchasing to get past a particularly challenging level or obstacle. Thus: 1) playing timekiller games demands increasing levels of attention; 2) the games participate in the attention economy, despite appearing to be simple little timekillers; 3) the games produce affective value; 4) players and games participate in a mixed economic model of game purchase, advertising, and in–app purchases, converting affective value into material value and back again; and 5) the player is re-inserted into the attention economy to produce further affective value, thus continuing the circuit.
Auditory filmic space as a sphere, the audiovisual chord, and the intentional archpassive synthesis in Submarino by Thomas Vinterberg
Authors: Martine Huvenne
Published: December 2024

In Submarino (2010) by Thomas Vinterberg, the characters do not invite identification. Yet, their stories and situations are compelling. Rather than extending an invitation to follow and understand the story, this film invites its audience to live a (filmic) experience.
In this article I investigate the role that sound plays in transmitting this experience. In a less than conventional way, I begin with the auditory elements of the film and from film as an audiovisual composition in order to propose a phenomenological approach to film sound and the audiovisual perception of this film.

It is not within the scope of this essay to analyse the film as a whole. Rather, I would like to explore the way in which Vinterberg makes the audience feel the essence of his story through the compositional structure of the film. which I compare refer to a tonal musical structure, investigating the compositional functionality of filmic elements.

To develop this approach, I will focus on some film fragments and on three key concepts: the auditory filmic space, the audiovisual chord, and the unity of filmic elements in an intentional arch.phenomenological concept of passive synthesis
A Sonic Paradigm of Urban Ambiances
Authors: Jean-Paul Thibaud
Published: December 2024

This paper intends to investigate urban ambiances through focusing on the world of sounds. Although the aesthetics of everyday life implies employing the whole human sensorium, making it difficult to artificially separate the information received from the individual senses from each other, I explore what can be learned about an ambiance when we just listen to it. In other words, how and under which conditions is it possible to develop a sonic paradigm of urban ambiances? The basic argument is to consider sound as a particularly efficient medium to investigate and develop an account of urban ambiances. Various ideas will be explored in order to answer this question, involving theoretical, epistemological and methodological arguments. Three main directions are accentuated: the first one relates to the tuning into an ambiance, the second relates to the unfolding of an ambiance, and the third relates to the situating within an ambiance.
Ethics of Listening
Authors: Salomé Voegelin
Published: December 2024

Recently, I was away, in another country. It looked and sounded not unlike this one, with streets, trees, houses, people and their dogs. The people had eyes, ears and mouths, just like us. They looked, listened and spoke. But since I could not recognize what I heard in the acoustic environment around me from the way they talked about it, I had to assume that they heard it all very differently.
Instead of considering the source or quality of a sound, its location and distance or even its reason, they spoke in terms of action only. Theirs was not a discussion of “what was being done,” but was a “being done,” doing, always now, without defining a doing subject nor arriving at a resulting object. They did not comment on what made a specific sound, but spoke making the sound. Their words phrased the particular and focused narration of doing heard, becoming another heard doing. The understanding reached did not substantiate nor position the heard, instead it beckoned movement; sonic gestures held momentarily and precariously in my ears as an idea of the heard, whose source had by that time become irrelevant, and whose destination was my own sound, which in turn did not translate the heard but became another sonic thing altogether - the semantic substance of doing conveyed to my listener.
Sonic Places: In Conversation with Peter Cusack
Authors: Sarah Lappin  , Gascia Ouzounian
Published: December 2024

In this interview, Recomposing the City co-directors Sarah Lappin and Gascia Ouzounian talk with Peter Cusack about his recent work, reflecting in particular on relationships between sound, sound art, planning processes, and urban communities. Cusack, a field recordist and sound artist, has been a leading figure in acoustic ecology and soundscape studies for more than two decades. Cusack created one of the earliest collaborative sound mapping projects, Favourite Sounds (1998-), in which he invited people to record, share, and describe positive aspects of their everyday sound environments. Among other things, Favourite Sounds has been influential in inspiring the recent proliferation of online sound maps, establishing a framework for producing collective ideas of soundscape, and suggesting approaches to urban sound that extend beyond noise pollution.
The Harley Effect: Internal and external factors that facilitate positive experiences with product sounds
Authors: Elif Özcan
Published: December 2024

Everyday activities are laden with emotional experiences involving sound. Our interactions with products (shavers, hairdryers, electric drills) often cause sounds that are typically unpleasant to the ear. Yet, we may get excited with the sound of an accelerating Harley Davidson because the rumbling sound represents adventure or an espresso machine pouring cappuccino because the sound signals an upcoming relaxing event. These examples demonstrate that it is often difficult to predict how pleasant or unpleasant a product sound is and that the circumstances surrounding sound events (i.e., external factors) can influence our judgment regarding those sounds. This paper discusses these external factors and provides a technical support for this notion. It will further present implications that could influence future product designers. Furthermore, the aim of this paper is to re-position the role of sound in human-product interactions.
Using Participatory Visualization of Soundscapes to compare Designers’ and Listeners’ Experiences of Sound Designs
Authors: Iain McGregor
Published: December 2024

There are numerous rules and well-established guidelines to help designers with the visual appearance of interactive technologies. In contrast, when it comes to the use of sound, there is a paucity of practical information regarding design for euphony, excepting musical composition. This paper addresses this hiatus by describing a theoretically based, practical method for evaluating the design of the auditory components of interactive technologies and media. Specifically, the method involves eliciting the auditory experiences of users of these technologies and media and comparing them with what the sound designers had intended. The method has been comprehensively tested in trials involving 100 users (listeners), and the results have been described as “useful” and “invaluable” by a group of 10 professional sound designers.
White Noise and Television Sound
Authors: Justin St. Clair
Published: December 2024

Two of the most notable critical accounts of television sound from the 1980s are John Ellis’s “Broadcast TV as Sound and Image” (1982/1999) and Rick Altman’s “Television/Sound” (1986), both of which argue that television audio sustains, focuses, and directs audience engagement with the medium. This essay uses the work of Ellis and Altman to contextualize another televisual text from the 1980s, Don DeLillo’s novel White Noise (1985/1991). DeLillo’s engagement with television sound is characterized by a somewhat contradictory double logic. On the one hand, he anxiously echoes circulating theoretical critiques, offering—as do Ellis and Altman—that television audio expressly manipulates an inattentive audience. Simultaneously, however, DeLillo productively utilizes television sound as a literary device, interjecting snippets of audio into the novel as a method of engaging topics ranging from corporatization to cultural anxiety.
Introduction: Rethinking Theories of Television Sound
Authors: Carolyn Birdsall
Published: December 2024

Studies on television sound typically begin by emphasizing that television, unlike film, relies more heavily on sounds than images and that the sound practices used in the production of television’s primary genres (including news, sports, game shows, sitcoms, commercials, etc.) are based on practices developed not for film sound but rather for radio. For example, in his 1982 book Visible Fictions John Ellis argues that television, unlike film, employs sound “to ensure a certain level of attention, to drag viewers back to looking at the set” (Ellis 1982: 128). Sound is more important for television, in other words, because it appeals to the sense of hearing rather than the voyeuristic pleasures of the cinematic gaze. Rick Altman’s 1986 essay “Television/Sound” similarly argues that film viewers assume “the stance of the voyeur,” while television employs sound to draw the viewer’s attention away from “surrounding objects of attention” (Altman 1986: 50). Altman also argues that the television soundtrack “serves a value-laden editing function, identifying […] the parts of the image that are sufficiently spectacular to merit closer attention on the part of the intermittent viewer” (Altman 1986: 47). Altman thus concludes that the average viewer watches television intermittently, and the soundtrack enables these “intermittent viewers” to follow the program even if they are not watching the images.
The Envoicing of Protest: Occupying Television News through Sound and Music
Authors: James Deaville
Published: December 2024

The television coverage of the 2011 Occupy Wall Street Movement discloses a tension between the attention-getting sounds of protesters and the networks’ often dismissive reporting of the sights and sounds of their protests. While the conflict over control of representation has characterized the historical reporting of protest, the Occupy movement presented the networks with particular problems in coverage, since the encampments and associated activities did not afford easy or sensational sound bites. The diversity of the Occupy soundscape, which drew upon typical protest auralities but in new configurations, contributed to the trivializing of the movement as projected in the living rooms of Americans. To situate this phenomenon, the essay examines the prior history of televisual news reporting of the sounds of collective protest, from the Civil Rights movement and Vietnam War protests to protest actions related to the Gulf War/War on Terror, the Tea Party and the Arab Spring.
Walking Hanoi - Reflections on improvisation, listening and being attached
Authors: Franziska
Published: December 2024

"Walking Hanoi 2024 - Reflections on improvisation, listening and being attached" is an audio visual piece, which stems from my long standing connection to Vietnam, and specifically to an artistic research project that took place in late March 2024 in Hanoi.
It took place as part of an international project - led by VIetnamese researchers, musicians and artists - on thinking through how best to digitise the diverse ethnic minority music in Vietnam. A sound walk, a gamified, ambulatory listening activity, with around 50 international artists/researchers forms the basis for this reflective piece on improvisation, situated listening, on embodied being, identity and the ways we attach ourselves to things, and how things attach themselves to us.

In reflecting on improvisation and being, the piece, written, narrated and produced by Franziska Schroeder, draws upon the insights of artists and writers, including Simon Rose, Donna Haraway, Lucy Suchman, Judith Butler, Martin Heidegger to reflect on the situated-ness of the 2 hour street walk in Hanoi.

It is a personal reflection, informed by how unspoken, often ineffable knowledge can shape one’s internal perspective. This internal perspective, or ‘insider point of listening’ becomes a central theme in this piece, framing the perception of an improvising self in relation to her tactile and sonic surroundings.
Being There: Evocation of the Site in Contemporary Indian Cinema
Authors: Budhaditya Chattopadhyay
Published: December 2024

Contemporary Indian films, in their essentially digitalized realms, incorporate techniques such as the location-based multitrack “sync” recording, and surround sound design that reorder the organization of cinematic sound. These practices contrast with the earlier mono- or stereo formats by reconfiguring the linear construct of a soundtrack to produce a spatially evocative sonic environment that offers the listener a more life-like auditory experience of the fictional site. Using significant examples from post-2000 Indian films, this article shows how earlier practices are being replaced by “sync” sound elements and surround sound mixing with a richly spatial arrangement of site-specific ambience. The article argues that these layers of ambient sounds lead to audiences establishing their embodied experience of presence with the fictional site via auditory spatial cognition and immersion in a cinematic soundscape. By situating contemporary sound production practices within the various trajectories of Indian cinema, this article contributes to the broader field of research examining the key developments and emergent aesthetics in constructing spatial environments for cinema.
A brief proposition toward a sonic geo-politics: Rajarhat New Town
Authors: Anja Kanngieser
Published: December 2024

This paper explores some of the acoustic landscapes of Rajarhat New Town, a satellite city and special economic zone (SEZ) in West Bengal, Kolkata. Establishing these landscapes in their physical and economic geographies of primitive accumulation from farmland to IT parks, this paper indicates the potential for incorporating a sonic method into how urbanizing spaces are approached and understood. By crossing affective and semiotic registers, it argues for a perspective that brings the sensitivities of listening to the analytical practices of the social sciences. Through such interdisciplinarity, soundings become a means to engage with, and elaborate upon, contemporary social-economic and political landscapes. At the same time, the paper stages some possibilities for incorporating geo-economic and political critiques into sound discourses and practices.
HISTORY AND ITS ACOUSTIC CONTEXT: SILENCE, RESONANCE, ECHO AND WHERE TO FIND THEM IN THE ARCHIVE
Authors: Maarten Walraven
Published: December 2024

Listening to history requires the historian to compose sonic events from the archive. This essay explores how Audible History has developed since Alain Corbin’s ground-breaking Village Bells. The listening historian has broadened the scope of social and cultural history by rearranging existing and creating new narratives. However, historians need to go beyond interrogating the earwitnesses of aural cultures. They need to listen to sounds-as-objects and the acoustic context of events. Three concepts are introduced to develop a methodology for this: 1) silence, which is the silence of the archive as well as the role silence played in history’s sonic register; 2) resonance, which demonstrates the way that resonances between people and their environment and among people created community; 3) echo, as a concept that allows for the objectification of sounds at the same time that it attends to the origins of sounds-as-objects.
RESOUNDING SCIENCE: A SONIC ETHNOGRAPHY OF AN URBAN FIFTH GRADE CLASSROOM
Authors: Walter Gershon
Published: December 2024

This sonic ethnography represents two years in an ongoing study in which urban elementary and middle grades students wrote songs about the science content they learned. Originally designed to examine whether processes of songwriting might help bridge race and gender gaps in science education for city kids, over time, this project has become what participating teachers and I refer to as “listening to the sounds of science,” a change that underscores the variety of sounds, ideas and ideals, and ways of knowing and being of the daily life of classrooms. Specifically, this piece focuses on two years in an urban fifth grade classroom. Here, the text supports the sounded portion of the piece, providing contextual information about process and participants. As such, this piece provides an opportunity to listen to how often marginalized students make sense, understandings, and experiences that are at once epistemological, ontological, and sensorial.
CAUGHT IN THE CURRENT: WRITING ETHNOGRAPHY THAT LISTENS
Authors: Justin Patch
Published: December 2024

In Listening (2002) Jean-Luc Nancy proposes a philosophy that listens, one that does not arrive at static, definitive conclusions but continuously resonates and remains open. This essay conceptualizes an ethnography that listens by putting Nancy’s thinking into play with texts that philosophically critique writing from different angles. By examining concepts of voice, speaking, the author, listening, and open work within writing practices, a polyvocal, nomadic concept of writing that listens emerges and points in many potential directions. One line of flight leads to ethnography, where the conflicts inherent in textualizing human representation continue to be examined and experimented with. In the second half of this essay, I propose one of many possible approaches to an ethnography that listens: ethnography of spin. In conscientiously, honestly, and openly writing the experience of getting spun – an integral part of mediated everyday experience in modernity – we offer texts that listen, resonate, echo, and can be transformed, remixed and re-mastered.
ADVENTURES IN SONIC FICTION: A HEURISTIC FOR SOUND STUDIES
Authors: Holger Schulze
Published: December 2024

This article presents Kodwo Eshun's concept of sonic fiction as an advanced and adequate methodological approach to sound studies. The references of More Brilliant Than The Sun (Eshun 1998) to afrofuturism and their methodological elaboration in Steve Goodman's Sonic Warfare (Goodman 2010) are discussed – as well as the strong epistemological connections to Michel Serres' reflections in his anthropology of the senses. Finally, this article explores the historical ramifications of the concept of sonic fictions in Alexander Baumgarten's concept of an aesthetic heuristic and ends with an enumeration of ten criteria for the methodological application of sonic fiction.
SONIC FACTS FOR SOUND ARGUMENTS: MEDICINE, EXPERIMENTAL PHYSIOLOGY, AND THE AUDITORY CONSTRUCTION OF KNOWLEDGE IN THE 19TH CENTURY
Authors: Axel Volmar
Published: December 2024

This article addresses the auditory culture of science and problematizes sonic practices as epistemological practices. In order to deepen our understanding about how scientific knowledge is acquired, represented, and constructed through sound, I discuss case studies from the history of medicine and the life sciences in which sound and listening do not form the objects of scientific observation and reasoning but epistemic tools employed by scientists to produce “sound” scientific facts. First I reassess the question why physicians began to listen to the sounds of the human body in order to diagnose diseases around 1800. After that, I follow late nineteenth-century neurophysiologists who used the electric telephone to study the nervous system by transforming bioelectric currents into sounds. I argue that such acoustemic practices and technologies favorably emerge in the presence of in-visibilities, i.e. situations in which a direct visual observation or representation of the object of study is hindered or impossible. I also show that the success of these practices largely depends on whether or not it is possible to develop the sounds of science into stable frameworks of sonic facts.
Acoustic Ephemeralities: Introduction
Authors: Boris Previsic
Published: December 2024

Acoustic Ephemeralities: Introduction
Sound-Essay 2
Authors: Boris Previsic
Published: December 2024

The three sound files per row are of similar duration and represent layers of a filtering process: the original source (left) is Boris Previsic’s complete reading of the German version of his article Acoustic Micro- and Macroephemeralities in Literature. Robert Walser’s Microscript 364 (1925) and Peter Weber’s Silber und Salbader (1999), home-recorded in five takes on his mobile phone. These takes have been filtered with a reciprocal mp3-filter by Hannes Seidl (middle) and the five resulting sound files inspired Lucas Niggli to five Sound Essays with the same duration (right). The readers are invited to mix their own version out of the different layers.
Animal Sounds against the Noise of Modernity and War: Julian Huxley (1887–1975) and the Preservation of the Sonic World Heritage
Authors: Marianne Sommer
Published: December 2024

This paper engages with Julian Huxley’s and Ludwig Koch’s sound recording of animals and the production of “soundbooks.” This collection and preservation of animal vocalization is discussed in the larger context of Huxley’s engagement with nature conservation that included the fight against the noise of modernity. He also promoted the protection of nature through the medium of film and its capacity to store and distribute sounds. I focus on Huxley’s directorship of the London Zoo (1935-42) but follow these endeavors up to his involvement in the foundation of the WWF. Once again, the parallels between zoo – where the sound recordings were made – and film, which also presented animated animals, through human and/or animal sound, become apparent. For Huxley, animals could not possess language; that was the preserve of the crown of evolution, i.e. humankind. But they should have a voice. Finding the right voice to politically represent animals on record, film, or cartoon proved to be a long journey.
Archive, Collection, Museum: On the History of the Archiving of Voices at the Sound Archive of the Humboldt University
Authors: Britta Lange
Published: December 2024

Available today under the name of the Berlin Sound Archive (Berliner Lautarchiv) or the Sound Archive of the Humboldt University (Lautarchiv der Humboldt-Universität zu Berlin) is a collection of now largely digitalized sound storage media begun in 1915 (https://www.lautarchiv.hu-berlin.de/, all internet references retrieved 24th June 2016). The collection includes shellac records with recordings of prisoners of war (1915-1918), sound recordings of the voices of so-called famous personalities (1917-1939), speech samples of German dialects (1921-1943), and recitations of poetry and literature in German (1930s and 1940s) as well as magnetic tapes from the 1960s that have not yet been transferred to a digital format. While, since its inception, the collection has repeatedly been referred to as a sound archive, prior to the digitalization of the shellac holdings in the 1990s this term never found its way into any of its official names. Against this background, this article traces both the Sound Archive’s early institutional history (1915-1947) as well as the use of the term “sound archive.” By considering the archiving of voices in the framework of an emerging history of knowledge, it explores the disciplinary contexts (the academic sciences) and configurations of conservation, research, and presentation (collection, archive, laboratory, library, and museum) in which the preserved human voice operates as an epistemic object. On the basis of a renewed examination of a number of sound recordings of prisoners of war, it should be shown how this historical material can be made productive for current research horizons.
Recapturing the sounds and sonic experiences of the hunter-gatherers at Ajvide, Gotland, Sweden (3200‒2300 cal BC)
Authors: Riita Rainio
Published: December 2024

The rich and well-preserved osteological material from the archaeological complex of Ajvide, Gotland (3200‒2300 cal BC), provides favorable conditions for studying prehistoric sounds and soundscapes. Archaeological excavations at the site have uncovered tubular bone artifacts and concentrations of animal tooth pendants that resemble whistles and rattles, the earliest types of sound instruments. The remains of hunted animals, such as seals, boars, dogs and birds, provide a lively picture of the species that were present in the environment. This article aims to evoke the sonic experiences of the people utilizing the site of Ajvide and explore how these hunter-gatherers constructed and responded to their sonic environment. The results of the osteological, organological and soundscape analyses are presented in the form of a scholarly text, samples of studio and field recordings, and a soundtrack that fuses the results together into a nine-minute piece of sound art.
The Dominant Eye
Authors: Journal of Sonic Studies
Published: December 2024

The Dominant Eye is a sixteen week project that aims to uncover why there is a heirachy of the visual sense whilst establishing strategies to re-engage with our forgotten senses. Through a series of weekly radio discussions, members from The Noematic Collective will build on a dialogue with speakers to form a manifesto towards an equality of the senses. Speakers will include sound theorists, artists, architects and specialist researchers whom deal with the beaurocracy of the senses that has been established by modernist thinkers like Art Critic Clement Greenberg.
Sonic Information Design for the Display of Proteomic Data
Authors: William L. Martens
Published: December 2024

A research project focusing on the sonification of proteomic data distributions provided the context for the current study of sonic information design, which was guided by multiple criteria emphasizing practical use as well as aesthetics. For this case, the auditory display of those sonifications would be judged useful if they were to enable listeners to hear differences in proteomic data associated with three different types of cells, one of which exhibited the neuropathology associated with Amyotrophic Lateral Sclerosis (ALS).
A primary concern was to ensure that meaningful patterns in the data would not be lost as the data were transformed into sound, and so three different data sonifications were designed, each of which attempted to capitalize upon human auditory capacities that complement the visual capacities engaged by more conventional graphic representations. One of the data sonifications was based upon the hypothesis that auditory sensitivity to regularities and irregularities in spatio-temporal patterns in the data could be heard through spatial distribution of sonic components. The design of a second sonification was based upon the hypothesis that variation in timbre of non-spatialized components might create a distinguishable sound for each of three types of cells. A third sonification was based upon the hypothesis that redundant variation in both timbral and spatial features of sonic components would be even more powerful as a means for identifying spatio-temporal patterns in the dynamic, multidimensional data generated in modern proteomic studies of ALS. This paper will focus upon the sound processing underlying the alternative sonifications that were examined in this case study of sonic information design.
Sonic Information Design
Authors: Stephen Barrass
Published: December 2024

The International Community for Auditory Display (ICAD) is a multidisciplinary community that includes researchers with backgrounds in music, computer science, psychology, engineering, neuroscience, and the sonic arts. Although this multi-disciplinarity has been beneficial, it has also been the cause of clashes between scientific and artistic research cultures. This paper addresses this divide by proposing design research as a third and complementary approach that is particularly well aligned with the pragmatic and applied nature of the field. The proposal, called sonic information design, is explicitly founded on the design research paradigm. Like other fields of design, sonic information design aspires to make the world a better place, in this case through the use of sound. Design research takes a user-centered approach that includes participatory methods, rapid prototyping, iterative evaluation, situated context, aesthetic considerations, and cultural issues. The results are specific and situated rather than universal and general and may be speculative or provocative, but should provide insights and heuristics that can be reused by others. The strengthening and development of design research in auditory display should lay the path for future commercial applications.
JSS Book reviews
Authors: Journal of Sonic Studies
Published: December 2024

JSS Book reviews
Sonifying the definitive Brazilian icon
Authors: Angelo Fraietta
Published: December 2024

Bandeira do Brasil—the Flag of Brazil—is a ubiquitous, yet definitive icon that represents the nation of Brazil. Although many countries include astronomy on their flag, the Flag of Brazil is unique in that the astronomy represented on the flag depicts a specific moment in time: the exact minute that Brazil declared its independence. Each star represents a specific state, so moving from one star to another is effectively a virtual tour of the country. Order and Progress: a sonic segue across A Auriverde is an abstract audiovisual sojourn across the Flag of Brazil realized as a sonified and politicized astronomy show, evoking emotions and responses through the use of fantasy, mystery, exaggeration, distortion and parallelism.
Rail Transport Soundscapes: Journeys in the Urban Space of São Paulo
Authors: Nicolau Centola
Published: December 2024

Project R$4.00 proposes a study of the soundscapes of public rail transport in the metropolitan region of São Paulo. The author travelled with an audio recorder for more than three hours on the city’s subway and train lines. The aim was to analyze the sound similarities and differences between the 12 city lines. This recording was transformed into a sound installation which uses binaural techniques to recreate the sound spatialization recorded inside the wagons.
Tropicália: Sonic Resistance, Relationships, and Reframing
Authors: Laura Robinson
Published: December 2024

In 1964, the military dictatorship in Brazil seized political power and extended their domain to many facets of Brazilian society. In this context of repression, artists and musicians created the powerful yet short-lived cultural movement called Tropicália. This paper examines the sounds of the Tropicália in response to the call to remap sound studies to include sounds of the “South” issued by Gavin Steingo and Jim Sykes in their edited volume Remapping Sound Studies. Concerning the terms “South” and “North,” they critically probe conceptualizations of the South not only in terms of geography but also as implicit bias in power relations. Significantly, they argue against the use of the “South” as an oversimplified binary that is contrasted with framings of the conceptual “North.” Instead, they argue that the terms are fluid and indicate both “empirical categories” and “ideological constructs” (Steingo and Sykes 2019: 3).

Taking issue with the hegemonic influences along multiple axes of power, Steingo and Sykes argue for the fundamental need to examine sounds from the South as constituting an important but often neglected genre in the large field of sound studies. To fill this need, they make three proposals for the remapping of a new cartography of sound theory. First, in terms of sounds’ relationship to technology, Steingo and Sykes urge for exploration of the constitution of culture through techniques made possible by technological innovation. Second, they argue for sonic studies to move in a relational direction to illuminate the relationship between listener and what is heard. Third, they encourage scholars to unpack the elements of sonic studies that reveal friction and antagonism, particularly in terms of social relations, a shift that moves the field beyond the perceptual qualities of sound toward the emotional and relational constructions of sounds as they are interpreted by listeners.
Music Dematerialized?
Authors: Francisco Lopez
Published: December 2024

The disappearance of the object seems to be a fait accompli in recorded commercial music; nobody cares anymore about the traditional physical carriers of audio. Perhaps radio broadcast was the first dematerialization of music. The online/cloud streaming can be seen as a further degree of dematerialized ownership which takes us back to the age-long situation of our hands (and our shelves) being empty of any imaginable materialized music.
Editorial - Functional Sounds in Sound Art and Popular Culture: Proceedings of the First International ESSA Conference 2013, part I
Authors: Julia Krause
Published: December 2024

Editorial: Proceedings of the First International ESSA Conference
Experiencing Recorded Geophony. Listening to Arctic Winter Winds at Home
Authors: Svein Høier and Asbjørn Tiller
Published: December 2024

This essay discusses how YouTube users describe their experience when listening to long durations of recorded geophony, in this case the sounds of winter winds. The analysis shows how individual differences and ambivalence are expressed in commentaries online and how the listening experiences involve affects, memories, associations, and imagination as well as, according to some user comments, having a more physical impact. The discussion draws on both recent and traditional theories, concepts, and terminology in order to study the phenomenon at hand. We argue that a listener-centered approach can be used to generate new knowledge on everyday listening to recorded geophony and find it relevant to search for similarities and contrasts between listening to these geophonic sounds and the somewhat parallel phenomenon of listening to music as background sound.
The Timbre of Tone, the Texture of Space: An Embodied Approach to the Atmospheric Modulations of Éliane Radigue
Authors: Mark Saccomano
Published: December 2024

The electronic music of Éliane Radigue provides a striking experience of sound, space, audition, and their interdependence - dramatically demonstrating the link between music perception and listener actions. Radigue’s musical structures are not fully realized until they are taken up by the listener; listening subject and musical object participate in an event that is mutually constitutive of these roles, articulating the space shared by both.

Drawing on James J. Gibson’s (1986) ecological approach to perception, as well as Scott Marratto’s (2012) work on Merleau-Ponty’s theory of embodiment and meaning, I show that space is more than simply a transparent medium through which music flows: sonic characteristics of the music combine with bodily comportment to constitute a work wherein sounds come to inhabit space with the same material presence as the listener. By calling upon our capabilities as embodied listeners, Radigue’s music offers us an opportunity to become reattuned to our surroundings, presenting new possibilities for action within the spaces we inhabit.
The Nature of Card Supplier's Card Pinching and Withdrawal Behaviour
Authors: Na Jiang
Published: December 2024

Introduction: The main controversy against such card pinching cases exists between theft and misappropriation offences.
In the judgment documents, most of the funds involved are referred to as deposits. And, previous studies have not examined
this controversy in particular detail.
Aim: The purpose of this article is to determine the legal relationship of the three parties and the issue of possession, and to
analyze what crime is constituted.
Result: Firstly, this article argues that the essence of deposits is the deposit claim made by card supplier to the bank. Secondly,
there is a legitimate legal relationship of debt and credit between the card supplier and the bank, while there is no legal
relationship between the card user and the bank. The transaction process of the three parties in this case can be regarded as
the card user conducting transactions with the bank through the intermediary of the card supplier. Then it can be determined
that the holder of the deposit should be the card supplier rather than the card user.
Conclusion: After identifying the correct possessor, the logic of determining the crime of misappropriation is clarified. The
withdrawal behavior after card pinching can be regarded as a natural behavior after committing a crime, but in cases involving
other crimes such as fraud, withdrawal behavior has substantive significance.
Degenerative Injury and Acute Trauma Lead to Rotator Cuff Tear: How can we Judge the Relationship Between Acute Trauma and Disease?
Authors: Ding Liangcheng
Published: December 2024

Degenerative injury (own disease) and acute trauma are the two most common causes of rotator cuff tears (RCTs). It is always
difficult to judge whether an RCT is caused by the former, the latter or the combination of both when the two factors coexist
in the clinical appraisal of forensic medicine. To solve this problem, this paper reviews the literature from four aspects: the
anatomical structure of the rotator cuff, the injury mechanism of the RCT, medical imaging and forensic clinical identification.
We hope to provide a reliable forensic path for determining the relationship between acute trauma and one’s own disease
through a discussion of the following content.
Key ideas
• The signs of accompanying injury on MRI and the magnitude and form of acute trauma can be used to analyze whether
acute trauma leads to RCT.
• Depending on X-ray or CT and MRI, the factors of own disease can be analyzed to determine the degree of the disease.
• The above two parts form clear appraisal results for court judgment.
Matching of Partial Middle Phalangeal Prints of the Finger for Identification of an Offender: The Use of Automated Biometric Identification System (ABIS)
Authors: Rwamurangwa Godfrey
Published: December 2024

Friction ridge impression from the areas of the fingers or hands that are not from the fingertips are called non-distal prints,
which include palm prints, middle and proximal phalangeal prints, and interphalangeal prints. The presence of these
fingerprints is less compared to distal print however, once retrieved from the scene of crime allow the identification of the
individual who committed the crime. Therefore, this case report presents a burglary case where phalangeal prints from the
finger retrieved from the site of crime matched the prints collected from the suspect. This case report also goes through
advancements brought by Automated Biometric Identification System (ABIS) such as enhancing low-quality latent fingerprint,
real-time picture and matching, and integration of other biometric systems such as Iris scan, Facial recognition.
Instructional Material Design of Project-Based Learning to Train Creative Thinking Skills in Society 5.0 Era
Authors: Rabia Supriyati Fatma , Asrul Asrul , Genç Nurbaiti Elita , Azizah M.A.N.
Published: December 2024

It is hoped that the use of creative and environmentally relevant instructional material will be able to improve creative thinking skills, among others. The aim of this research is to determine the influence of students creative thinking skills using the project-based learning. This research is a type of quasi-experimental research. The design in this study used a two-group pretest-posttest design. The population of this study was all second-semester students, consisting of 5 classes with a total of 153 students. The research sample consisted of two classes, namely the experimental class and the control class which was taken using cluster random sampling, the total sample was 70 students. This research instrument is a project-based creative thinking skills test in the form of an essay test which is in accordance with aspects of creative thinking skills. The data analysis used is the t-test. The results of this research show that there is an influence of project-based learning-based instructional material with the characteristics of Papuan local wisdom and an increase in students' creative thinking skills per aspect in the medium category.
Modified sorbents based on natural mineral and its mechanical properties
Authors: Kenzhalievich Kenzhaliyev Bagdaulet , Tatiana Surkova , Dossymbayeva Zamzagul , Kairgeldyevna Koizhanova Aigul , Dinara Yessimova , Bekzat Abdikerim
Published: December 2024

The use of modified sorbents based on natural minerals, widely distributed in Kazakhstan, is a promising direction. This direction is related to the development of domestic ion-exchange materials. The republic lacks its own production of synthetic sorbents. The environmental situation in the regions of uranium ore mining and processing is also important. Moreover, the application of synthetic sorbents is not always justified due to their high cost, while the use of natural sorbents is limited by their low sorption capacity. The development of modified ion-exchange materials based on a combination of these is a pressing issue for various industries. Research has been conducted on the choice of modification methods for natural sorbents and the evaluation of their sorption capacity after modification. The modification of natural minerals zeolite and shungite using the "solid-phase extractants" method was carried out in two stages. At the first stage, the modification was performed with organic extractants and compositions based on them, and at the second stage with phosphoric acid in combination with polyacrylamide. The natural sorbents used were zeolite from the Kusmuryn deposit and shungite from the Koksu deposit, following preliminary flotation. The mechanical strength of sorbents modified by different methods was compared with the original ion-exchange materials. Studies of the sorption process have shown that the best results for uranium sorption were obtained with modified sorbents: zeolite modified with a mixture of extractants Di-2-Ethylhexyl phosphoric acid (Di-2-EHPA), Tributyl phosphate (TBP), kerosene, and shungite modified with phosphoric acid in the presence of Polyacrylamide (PAA).
Revolutionizing polymethyl methacrylate toughness: Achieving 190% improvement with nanocellulose reinforcement while maintaining optical clarity
Authors: Liu Guan-Ting , Shi Shih-Chen , Rahmadiawan Dieter
Published: December 2024

Polymethyl methacrylate (PMMA) is widely used in applications requiring high transparency and durability, such as optical lenses and protective coatings. However, its inherent brittleness limits its application in high-impact environments. This study investigates the incorporation of cellulose nanocrystals (CNCs) into PMMA to significantly enhance its toughness without compromising its optical clarity. By reinforcing PMMA with CNCs, the nanocomposites exhibited a remarkable 190% increase in toughness while maintaining 90% optical transparency. The innovation lies in achieving a balance between toughness and transparency through controlled CNC dispersion within the PMMA matrix, which minimizes excessive bonding that could lead to brittleness. Proper CNC dispersion was achieved through in-situ polymerization, allowing the nanocrystals to interact with the polymer matrix through van der Waals forces rather than covalent bonds. This approach reduces stress concentration and mitigates the formation of defects in the polymer matrix, ultimately leading to a tougher, more flexible material. In addition to enhancing mechanical properties, this study underscores the importance of controlling CNC content to preserve the intrinsic optical transparency of PMMA. These findings open new possibilities for CNC-reinforced PMMA in advanced applications that demand high mechanical performance coupled with excellent optical properties, extending its use in fields such as medical devices, protective coatings, and transparent structural materials.