Question: Sun Wei  involves the field recording of which component of the acoustic environment that can be perceived by humans?

Context articles: Music rehearsal space
Sun Wei (fencer)
Computational auditory scene analysis
Battle of Guiling
Sun Wei (sound artist)
Direct-field acoustic testing
Soundscape
Soundscape ecology
Acoustic space
And/oar

A music rehearsal space is a room or number of rooms dedicated to music-making.
 A professionally soundproofed practice room(s) is an acoustic environment defined by its purpose and layout, designed to keep sound inside and unwanted sound out.
 Spaces can combine rehearsal and recording functions.
 Music rehearsal spaces are unique in response to their users, location and the building they are housed in developed over several years.
 Rehearsal spaces serve local musicians and to make access easy are usually located in urban areas.
 There are many places used by musicians, ensembles and bands for rehearsing, including makeshift rooms and shared areas such as halls and community centers.
Sun Wei (born 27 October 1992) is a Chinese fencer.
 He competed in the men's sabre event at the 2016 Summer Olympics.
Computational auditory scene analysis (CASA) is the study of auditory scene analysis by computational means.
 In essence, CASA systems are "machine listening" systems that aim to separate mixtures of sound sources in the same way that human listeners do.
 CASA differs from the field of blind signal separation in that it is (at least to some extent) based on the mechanisms of the human auditory system, and thus uses no more than two microphone recordings of an acoustic environment.
 It is related to the cocktail party problem.
The Battle of Guìlíng (桂陵之戰) was fought between the states of Qí and Wei in the Warring States period of Chinese history.
 In 354 BC, an army from Wèi was laying siege to Handan, the capital of the State of Zhao.
 The next year, Zhao turned to Qi for help.
 Tian Ji and Sun Bin, acting as co-commanders of Qi, led an army to save Zhao.
 Sun Bin moves south intentionally to make an unsuccessful attack on Pingling, intending to convince Pang Juan that the Qi Army was too weak to achieve victory.
 Pang Juan, falling for the ruse, pooled more of his forces to besiege Handan.
 Although defeated, the Zhao Army fought desperately and suffered heavy losses to the Wei Army in the subsequent battle.
 After feigning defeat at Pingling, Sun Bin led his army directly to the Wei capital, Daliang.
 Wei scouts reported that the Qi Army had committed small groups to attack the city.
 Upon hearing the report, Wei general Pang Juan took his crack cavalry and left his infantry and supplies at Handan, making a mad dash in an attempt rescue Daliang.
 Pang Juan's troops were exhausted as they crossed the Yellow River and were ambushed and destroyed at Guiling by Sun's numerically superior army.
 Pang Juan managed to escape alone to Wei.
Sun Wei (; born 11 September 1976 in Beijing, China) is a sound artist who uses sound and installations as sampling carriers.
 Its creation involves the field recording of environmental soundscapes, live performances, and environmental sound installations.
 He has been featured and performed in experimental events in China.
Direct-field acoustic testing, or DFAT, is a technique used for acoustic testing of aerospace structures by subjecting them to sound waves created by an array of acoustic drivers.
 The method uses electro-dynamic acoustic speakers, arranged around the test article to provide a uniform, well-controlled, direct sound field at the surface of the unit under test.
 The system employs high capability acoustic drivers, powerful audio amplifiers, a narrow-band multiple-input-multiple-output (MIMO) controller and precision laboratory microphones to produce an acoustic environment that can simulate a helicopter, aircraft, jet engine or launch vehicle sound pressure field.
 A high level system is capable of overall sound pressure levels in the 125–147 dB for more than one minute over a frequency range from 25 Hz to 10 kHz.
The soundscape is the component of the acoustic environment that can be perceived by humans.
 There is a varied history of the use of soundscape depending on discipline – ranging from urban design to wildlife ecology.
 An important distinction is to separate soundscape from the broader term acoustic environment.
 The acoustic environment is the combination of all the acoustic resources within a given area – natural sounds and human-caused sounds – as modified by the environment.
 The International Organization for Standardization (ISO) standardized these definitions in 2014.
(ISO 12913-1:2014)
The term soundscape ecology, first appeared in the "Handbook for Acoustic Ecology", Barry Truax Ed., in 1978.
 It focuses on the study of the effects of the acoustic environment on the physical and behavioral characteristics of those organisms living within it.
 It has occasionally been used, sometimes interchangeably, with the term, acoustic ecology.
 Soundscape ecologists also study the relationships between the three basic sources of sound that comprise the soundscape: those generated by organisms are referred to as the biophony; those from non-biological natural categories are classified as the geophony, and those produced by humans, the anthropophony.
 Increasingly soundscapes are dominated by a sub-set of anthropophony (sometimes referred to in older, more archaic terminology as "anthropogenic noise"), or technophony, the overwhelming presence of electro-mechanical noise.
 This sub-class of noise pollution or disturbance may produce a negative effect on a wide range of organisms.
 Variations in soundscapes as a result of natural phenomena and/or human endeavor may have wide-ranging ecological effects as many organisms have evolved to respond to acoustic cues that emanate primarily from undisturbed habitats.
 Soundscape ecologists use recording devices, audio tools, and elements of traditional ecological and acoustic analyses to study soundscape structure.
 Soundscape ecology has deepened current understandings of ecological issues and established profound visceral connections to ecological data.
 The preservation of natural soundscapes is now a recognized conservation goal.
The acoustic environment in which sound is heard is often called acoustic space.
 This is characterized by the interaction between sound and a room, either by absorption, reflection, or diffraction by the walls.
and/OAR is an independent record label, based in Seattle, Washington, USA.
 It was founded by Dale Lloyd in 2001, but officially launched in May 2002.
 The label focuses on raising awareness about field recordings and experimental sound art that somehow utilizes field recording as part of the creative process.
 From 2001 to 2005, and/OAR released field recording compilations for Phonography.org a website and international discussion forum pertaining to all aspects of the "art of field recording".
 As of December 2014, it has issued over 70 releases on CD and CD-R formats.
 From 2008 to 2010, free MP3 releases were made available through the website, but this format has since been discontinued.