acoustics   2030

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goh | Archaeologies of Media and Technology Research group | University of Southampton
Archaeoacoustics (or acoustic archaeology), since its inception as an academic field in the early 2000s, has sought to integrate long-neglected questions of sound and listening into archaeological method. Caves, architectural formations, buildings, rock-faces, and sound-producing objects, the subject of study of sound archaeologists, are considered forms of sonic media through which knowledges can be produced in this project. In the absence of a greater interrogation of larger ontoepistemological questions in the field of archaeoacoustics, my PhD research draws on feminist epistemologies (Haraway, Harding) and decolonial traditions of thought (Quijano, Santos, Wynter, Lugones) to assess the ramifications of sound and the sensory on Western ocularcentric epistemological traditions.

However, rather than relinquishing to the easy alterity of the sonic, as encapsulated by Sterne’s diagnosis of the widespread “audiovisual litany”, the challenge is to remain “situated” in a Harawayan sense when conceptualising sonic pasts. Against an imaginary which implies a depoliticized, ahistorical and unmediated sonic past of “sonic naturalism”, I attempt to carefully posit a theory of sonic knowledge I call “aural gnoseology”. In doing so, I follow Walter Mignolo’s conceptualisations of “gnosis”, inspired by Valentin Mudimbe’s call to think outside Eurocentric modes of knowledge production and transmission as “gnosis” and Gloria Anzaldua’s “thinking of/from the ‘border’” which moves towards a propositional new mestiza consciousness. Aural gnoseology seeks to undertake a grounded, situated mode of speculation which asks what a theory of sonic knowledge – one which acknowledges the historico-epistemological implications of colonality/modernity, patriarchy and capitalism – might embody, effect and enact.
sound  sound_space  archaeoacoustics  archaeology  acoustics 
6 weeks ago by shannon_mattern
The Trill Threshold: The Journal of the Acoustical Society of America: Vol 22, No 5
Two tones of different frequencies alternated successively five times per second. When the difference in frequency was small, the alternation sounded like a continuous up‐and‐down movement of the pitch. When the difference in frequency was large, the alternation sounded like two unrelated, interrupted tones. The transition point between these two perceptual organizations is called the trill threshold. The trill threshold was measured as a function of frequency for 14 subjects; the results are summarized in Fig. 1.
perception  acoustics  psychoacoustics  pitch 
7 weeks ago by arsyed
How Bengaluru startup Asquared IoT is helping factories gain a sixth sense
A Bengaluru company has now developed artificial intelligence algorithms and analytics tools to monitor factory floor operations and diagnose the health of industrial machines merely by the sounds they make. The data points derived from the sounds help generate factory-level visualisations and diagnostics on the entire operations.
AI  ML  acoustics 
8 weeks ago by euler
Mathematically perfect rings could soundproof the world
Offices and tiny apartments could be transformed by the work of Boston University researchers, who recently unveiled an “acoustic metamaterial” that blocks all sound.
notnews  science  acoustics 
march 2019 by traggett
Creatives do their best work when it's quiet
Surprise! Many creatives say they need quiet to do their best work. So why aren’t employers giving it to them?
productivity  work_culture  office  acoustics  separation 
march 2019 by vloux

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