Soundscape & Landscape

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Soundscape & Landscape af Mind Map: Soundscape & Landscape

1. Noise

2. Landscape Design

3. outdoor musicmaking

3.1. gender in gardens and sanctuaries

3.2. poetics of experience:

3.3. static-stillness-quietness,

3.4. movement,

3.5. viewing in stillness,

3.6. viewing in motion

3.7. points of viewing

3.8. land art

3.9. intervention

3.10. site response

3.11. yodeling

3.12. Native American plains/prairie singing

3.13. the shepherd’s flute

3.14. Tuvans

3.15. throat singing

3.16. John Luther Adams

3.17. Hugh Livingston

3.18. Lisa Bielawa

3.19. contemporary practice

3.20. sound design

3.21. nostalgia

3.22. historical

4. nature experience

4.1. biophilia

4.2. prospect-refuge theory

4.3. the wild

4.4. fear and shelter in the forest

4.5. shinrin-yoku

4.6. forest bathing

4.7. dissonance & harmony with the landscape

5. sound experience qualities

5.1. roughness

5.2. binaural density

5.3. curation of sound in public places

6. taxonomy

7. mobile apps


7.2. #SFAIsound2018

7.3. recording

7.4. iPhone RecorderApp


7.6. (iOS only) includes upload to Soundcloud.

7.7. Auphonic for Android

7.8. Android Ultrasonic

8. walking as artform

8.1. tourguides

8.2. Mobile Music Platform (MMP)


8.4. dérive

8.5. Soundwalk A guided exploration of a site using listening focused skills. We will listen to how the site sounds, as we are moving through it. I believe that through listening we have a tool to define communities and ourselves. We also can use those tools to shape who we are and where we live. We will be listening for changes, interactions, conditions, weather, traffic, animals, insects, people, vehicles and other factors in what makes a place what it is. We start by listening in our own silence. Being mindful of our own consciousness. Then we focus on how we sound as we move throughout the site. We then expand our listening to what is near to us, what just passed us and then what is ahead.

8.6. locomotion

8.7. proprioception

8.8. the strolling garden

8.9. the lingering garden

8.10. Whispers of Salem (location-based app)

8.11. Radio Aporee

8.12. Soundwalks for New York City

8.13. High-end audio tours: Detour

8.14. Platform for creating your own audio tours: Echoes

8.15. Location-aware app for Albany NY by Cristyn Magnus.


8.17. An early soundwalk work for Central Park by Janet Cardiff (creator of Forty Part Motet)

8.18. soundwalks

8.19. detours

8.20. augmented reality

8.21. MobMuPlat (the mobile music platform)

8.22. apps

8.23. running with sound

8.24. motion tracking

8.25. MUSICFIT App -

8.26. Weav Run

9. Natural Sound

9.1. Hollis Taylor, australia. Is birdsong music? 54' radio program

9.2. biophilia

9.3. birdsong

9.4. communication

9.5. bioacoustic partitioning

9.6. Jan Eerala, from Finland. Watch the videos and listen to how the sound creates narrative.

9.7. BBC Earth collection of 'relaxing' soundscapes, with dramatic video

9.8. audio mimesis, Allen Weiss

9.9. Olivier Messiaen, composer

9.10. Is a musical composition about nature like a painting of a landscape?

9.11. Nature in Music

9.12. thunder

9.13. geophony

9.14. volcanoes

9.15. water, flowing and raining

9.16. earthquakes

9.17. wind

9.18. Chinese/Japanese almanac

10. Analysis & Mapping

10.1. software for analysis and graphing

10.2. space syntax

10.3. consulting firm UK

10.4. urban morphology and navigation theory

10.5. isovist

10.6. Molinski. Sound transects.

10.7. transect

10.8. Spectrograms

10.9. isobel

10.10. acoustigrams?

11. site-specific

11.1. site-responsive

11.2. with Damon Smith

11.3. with Ma Jie

11.4. Creeks & Streams Oakland

12. real-time interaction

13. software control

13.1. weather monitoring

13.2. Generative Processes

13.3. digital possibilities

13.4. Quintron, Weather for the Blind (environmental sensors control synthesis)

13.5. Parameters

13.6. reaction, response, prediction

13.7. observation

13.8. behavior monitoring

13.9. Max/MSP Jitter

13.10. pd

14. Organized Sound

14.1. Programmatic music, music as symbol

15. interpretation

15.1. I love sounds just as they are. I have no need for them to be anything more than what they are. I don't want a sound to pretend that it's a bucket or that it is President. Or that it's in love with another sound. I just want it to be a sound….If you listen to Mozart, you see it is always the same. But if you listen to traffic you see it is always different. John Cage.

15.2. Pascal Amphoux’s principles of sonic identity: three approaches are: defensive (protecting from acoustic pollution), offensive (consolidating the acoustic milieu), and creative (composing sonic landscape).

15.3. "Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.”

16. Social Space

17. hearing

17.1. listening modes:

17.1.1. to perceive with the ear (ouïr),

17.1.2. to listen (écouter),

17.1.3. to hear (entendre), and

17.1.4. to understand (comprendre)

17.2. philosophies of listening

17.3. sounds in front, sounds behind.

17.4. stereolocation

17.5. Emotion

17.6. Meaning

17.7. Aesthetics

18. Perception

18.1. pinna filtering

18.2. heartrate/breathing

18.3. subwoofer/vibrational

18.4. Psychoacoustics

18.5. music healing

18.6. binaural beats

18.7. Bernhard Leitner []

18.8. Body Experience


18.10. stereolocation

18.11. delay detection

18.12. phase detection

18.13. binaural

19. Physics of Sound

19.1. Sound Production

19.2. Sound Transmission

19.3. Sound Reception

19.4. Anatomy of the Ear

20. Noise

20.1. Sound design of mechanical consumer products


20.3. Annoyance and Appreciation

20.4. Biophilia

20.5. Communication

20.6. music

20.7. sound art

20.8. sonic architecture

20.9. form & structure

20.10. Coral Reefs



20.13. sonification

20.14. Form & Structure


20.16. site and sound

20.17. the Five Senses

20.18. Audio cartography

20.19. sample parameters:

20.20. relevance of a sound (to the group vs an individual)

20.21. necessity

20.22. directionality

20.23. travel distance

20.24. communicative intent

20.25. communicative nuance

20.26. intentionality

20.27. binaural complexity

20.28. diffusion


20.30. (iOS only)


20.32. garden sound





20.37. seasons

20.38. time and memory


20.40. behavior observation

20.41. interactivity

20.42. shared experience

20.43. individualized experience

20.44. modes of listening

20.45. concert ritual

20.46. individualized experience

20.47. sanctuary

20.48. isolation

20.49. noisemasking

20.50. emotional transport

20.51. silent disco

20.52. exercise apps

20.53. noise cancelling headphones

20.54. the privatization of listening

20.55. construction of the private self

20.56. secret theatre

20.57. mobile privacy

20.58. headphone culture

20.59. repeat listening

20.60. Deep Listening, Pauline Oliveros

20.61. "Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening" (Oliveros, Website).

20.62. Deep Listening


20.64. Examples

20.65. quoting

20.66. Eric Harvey.

20.67. "traditional radio facilitated the construction of an "imagined community," services like Pandora and Spotify facilitate the construction of the private self”. Surveillance theorist Mark Andrejevic, adopting a term from 16th century Britain for the fencing off of common land to turn it into private property, dubs this the “digital enclosure movement.” “secret theatre,” a public performance framed through a technology of mobile privacy

20.68. privatization of listening

20.69. Revised Taxonomy for listening:

20.70. nine listening modes:

20.71. reflexive, kinaesthetic, connotative, causal, empathetic, functional, semantic, reduced and critical listening

20.72. In Book II of his Traité des Objets Musicaux (1966) Pierre Schaeffer identified four listening modes: to listen (écouter), to perceive with the ear (ouïr), to hear (entendre), and to understand (comprendre), onto which four tendencies could be mapped: the natural, the cultural, the ordinary, and the specialized. Schaeffer’s theoretical framework could be a starting point for the pursuit of a greater awareness about the processes in which listening emerges.

20.73. We should exercise and articulate different listening practices, deploying and re-deploying them as conscious strategies to navigate and negotiate the infinite combinatorial possibilities in the construction and disruption of meaning that can unfold in the encounter with sound. The modulation of listening, or the active proliferation of listening modalities, can be encouraged as a way to investigate, interrogate, challenge, and subvert established relationships with sound.

20.74. Pierre Schaeffer

20.75. stereo

20.76. mid-side

20.77. binaural

20.78. parabolic

20.79. hydrophone

20.80. subsonic

20.81. ultra/infrasonic

20.82. recording approaches

20.83. Hydrophone at Leona Creek

20.84. underwater

20.85. self noise

20.86. wind screens

20.87. setting levels

20.88. preamps

20.89. headroom

20.90. noise floor

20.91. bass rolloff

20.92. history

20.93. One of the most respected nature recordists of all time

20.94. field techniques

20.95. How to record the ocean

20.96. Ocean Recording

20.97. time

20.98. location (GPS), altitude

20.99. atmospheric conditions

20.100. sound source locations

20.101. recording levels

20.102. device

20.103. microphones

20.104. mic placement

20.105. windscreen

20.106. recording timeframe

20.107. variations from previous

20.108. slating

20.109. Audacity free audio editing software

20.110. filtering

20.111. noise reduction

20.112. equalization

20.113. high pass/low pass

20.114. dynamic compression

20.115. post production

20.116. automated noise cleanup? Try this on your audio files


20.118. software tools

20.119. Develop generative landscapes, exploring points of view from historical landscape painting to virtual and augmented realities, animation, dystopian and utopian landscapes.

20.120. Landscapes: Built, Imaginary, Virtual, Utopian

20.121. Capturing nature sounds in your area, you will craft a musical composition that responds to the environment. We will conduct fieldwork in urban and rural environments, culminating with a musical composition that draws on a given sonic environment.

20.122. Bioacoustic Partitioning: Defining Sound Space

20.123. Traveling to a Bay Area site to explore performance action and space, we will use bodies, vocalizations, and found natural objects as percussion instruments to discover rhythms and textures which illuminate the outdoors, matching movement to landscape. We will look at histories of traditional and contemporary arts, and consider yodeling, Native American prairie singing, and the shepherd’s flute.

20.124. Performance and Landscape Context

20.125. We will consider how sound creates individual calm, and extensions to public space. The phenomenon of the personal soundtrack will be explored and expanded upon, as we parse the soundscape into the sonic and the acoustic, and discover solutions for personal and public benefit.

20.126. Sound & Sanctuary

20.127. Sanctuary space in Oakland, designed by famed architect Julia Morgan


20.129. Bay Area Sanctuary Spaces

20.130. Sacred spaces


20.132. Sanctuary Spaces

20.133. Four components of restorative settings:

20.134. 1 Being away (escape)

20.135. 2. Extent (large enough space that boundaries are not evident)

20.136. 3. Fascination (capturing attention with little mental effort)

20.137. 4. Compatibility (being in an environment that is supportive of one’s efforts)

20.138. Kaplan & Kaplan restorative settings

20.139. In Birmingham (UK), the Sound Immission Contour Mapping (SICM) program has been used as a pilot to understand urban environments

20.140. separation of unwanted vs. wanted soundmarks, as in the research field of Proposed Acoustic Environments (Brown & Muhar 2004).

20.141. Noise


20.143. politics and protest

20.144. “Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.”

20.145. —John Cage, Silence

20.146. aesthetics of noise

20.147. Evaluation of smartphone sound metering and monitoring applications


20.149. similar


20.151. monitoring

20.152. Taxonomies

20.153. One Square Inch of Silence

20.154. John Cage 4'33"

20.155. Silence

20.156. (read how to participate)

20.157. collecting soundscapes

20.158. Honku, and the culture surrounding city noise pollution

20.159. Aesthetics in car horns

20.160. Pollution


20.162. community sound collection

20.163. dimensions

20.164. symbolization v lineation

20.165. sonogram/spectrogram

20.166. Musical Scores & Sound Notation


20.168. Silence

20.169. crickets

20.170. noise or not?

20.171. R Murray Schafer

20.172. soundscape theory and vocabulary

20.173. cable cars of SF (1982)


20.175. historical soundscapes


20.177. sound sources

20.178. Spatial Distribution


20.180. multichannel sound

20.181. Dolby Surround

20.182. ambisonics

20.183. VBAP

20.184. techniques and approaches


20.186. resource for interesting sound art/interface projects, mostly European

20.187. new media art

20.188. sound artists

20.189. Recording with accelerometer : capturing bells, when they are not ringing

20.190. 'eight ears'

20.191. Bill Fontana (SF)

20.192. Texture

20.193. Color

20.194. Pattern

20.195. Symmetry

20.196. Dominion over nature

20.197. utopian and dystopian landscapes

20.198. hortus conclusus

20.199. A possible choice for design, less sensitive but probably still effective, is the classical psychoacoustical indicator called Roughness. It has been demonstrated that it can detect an artefact change in the soundscape while others fail [Memoli et al., 2008], probably because sensible to changes in the distribution of the frequencies.

20.200. muzak

20.201. The sonic landscape gives a place purpose. Sounds in spaces can influence your velocity. Sound tells instantly when place is meant to be peaceful; sounds in spaces can create the perception of silence. The mere suggestion of sound can change the way you feel about a setting.

20.202. We should be creating more public spaces as proofs of concept of the power of sound. Soundscaping should play just as much of a role as landscaping. .. In urban environments, the concept of a park could be altogether reimagined: we could build sonic parks full of curated boom moments.

20.203. p159 The Sonic Boom. Joel Beckerman. 2014. Man Made Music

20.204. manmade music

20.205. audio reproduction technology

20.206. podcast of field recording

20.207. Radio Aporee

20.208. art of field recording



20.211. bibliography

21. Silence

22. Musical Parameters

22.1. timescale

22.2. duration

22.3. long forms

22.4. form & structure

22.5. harmony and counterpoint

22.6. texture and color

22.7. temporality

22.8. rhythm

22.9. repetition

23. noise

23.1. colored noise

23.2. White noise

23.3. noise masking