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About Phonosynthesis Through noise; day-to-day life is transfigured. When noise becomes musical matter - delineating, reiterating and modifying particular aspects of a metropolis – new meanings are projected in day-to-day life. The rumbling of engines and wheels, the loud speech of the citizens, the constant flow of subjects and objects; the local soundscape provides Phonosíntese with its fundamental substance – one might say: its source of energy – that undergoes further digital manipulation in which sounds captured in loco sometimes are in evidence, while sometimes imaginary soundscapes are created; unknown even to all of those who transit those streets on a daily basis. Phonosíntese, the synthesis of sound sketched by Vanessa de Michelis, recurs to an analogy to the biological process of photosynthesis. If energy provided by light is fundamental for an organism to undergo its metabolic functions in the second case, sounds – noises – are essential for the elaboration of an unorthodox soundscape in Phonosíntese, being one of the main elements that generates music in this context. The city with its own rhythm, its specific sound traces, is the only matter incorporated by this metaphorical organism, originating alternative and potentially infinite version of itself, not by varying the arrangement of the objects that are already there, but through the reinterpretation of its sounds. In real time, everybody observes the city – objectively and/or metaphorically – with their backs turned to the performer, watching while a new layer of meaning, hidden to this point, emerges from the surrounding environment, revealing places that, if not by this new interpretation of its sounds, would be merely trivial. Phonosynthesis is a sound inter-composition. The objective is to break habits of the commonplace hearing through the appropriation of musical parameters taken from complex noises such as the soundscape of the urban traffic. The values found are played in real time by digitally prepared synthesizers. Inspired in organic processes of transformation and chemical reaction between elements, phonosynthesis captures sound excesses from cars and resounds them through the digital signal processing. Instead of directly capturing urban noise and filtering the sounds, the program extracts musical parameters from the movement of traffic as variations of volume, fundamental tone, peaks, approximation and withdrawal of objects and resonates with other timbres. The sound pieces composed through the process of phonosynthesis, while digitally interpreted by the programmed synthesizers (instrumental determination), are governed by the actions and reactions of each place (structural indeterminacy). The site-specific features of the compositions constantly (dis)organize the pieces through the space-time dynamics of each location analyzed. soundification, auditory perception, sonic anthropology, noise, sound art, pure data, appropriation. When the ears burn The idea emerged from a visit to a beach in Rio de Janeiro; a confluence of environment perceptions culminated in the idea of measuring the sound levels of traffic to better understand the causes and effects of noise pollution. I was walking in a spring afternoon by the beach and the watch informed me that it was 10 am in the morning and that the temperature was 39 degrees. Some meters ahead and the UV meter showed 9 levels in a thermometer whose scale goes from zero to thirteen. Number 11 implied risks of skin cancer. Continuing on the sand in direction to the sea the red flags warned of strong sea currents and the amount of trash on the sand confirmed that there were two possibilities to deal with that situation. In the first, taken by complete indignation and aware of the unhealthiness of that tour, I should understand all those pieces of information as warnings and leave the beach immediately. In the second, I should feel that I was a citizen thankful for being aware of all the risks that that tour represented to my health, i.e. institutionalized self-sabotage. In relation to the foreground picture that was the luxury of being able to go for a dive in a tropical metropolis, it was inevitable for those who were present that all that noise was accepted as background. Ecstatic with the after-diving defeat, with my eyes closed on the sand, I tried to exclude that reality by feeling the sun only. I tried to immerge into some detached memory that once the experience of going to Copacabanca should have caused. At this moment, my ears, which by that time seemed to have created eyelids, opened to listen to the sea and I noticed with my eyes closed that there were virtually only cars, buses, brakes and horns on that beach. I was facing the sea and I thought about the reasons for popular knowledge to say that the ears burn when people talk of us behind our backs... Detection of Noise Pollution Noise Pollution Detector v 0.1 The starting point was the construction of a noise pollution detector. In its first instance, it was a circuit that detected high levels of noise so that an electret microphone captured inputs of volume in decibels. A green LED would light when detecting noise levels below 70dB and a red light lit in the detection of higher levels. The initial idea for the circuit was (1) to exercise soundification, i.e. the collection of sound information for data interpretation; (2) to investigate technical, urban, social, and political features of noise pollution; (3) ways to appropriate and manipulate noise generated by the everyday urban environment; and (4) to explore the possibilities of the software Pure Data as an open source tool for the construction of personalized instruments for sound synthesis. At Marginalia+Lab, the proposal was to rebuild the circuit in software so that the detector of noise levels could count on higher precision in the capture of variations of decibels and, after that, to elaborate possibilities of interpretation of the circuit output given that the LEDS were just an initial mark. In the beginning of the activities in the laboratory, the development of the noise pollution detector software was left aside because several workshops proposed by Marginalia+Lab took place, such as Gambiologia, Arduino, Isadora, and Pure Data. They focused more generally on tools of common interest than on the specific projects of each participant. In the period from August to November, the group’s focus was to collectively study the programming and individually deepen the conceptual research feeding content to the project’s Wiki. After research, readings, and interviews in the fields of engineering and acoustic ecology, we learnt more about local and international urban policies regarding treatment of noise pollution in the cities. With that, the first obstacle to the project emerged: it was impossible to determine noise pollution punctually in the way we thought about the circuit/software. Differently from the definitions of “high levels of noise” or “to break the law of silence”, which can be considered (and measured) separately, the concept of noise pollution is used only when these high levels are analyzed and when they happen regularly in a timeline in which the risks of hearing damage are measurable. Breaking the law of silence is sometimes wrongly called “noise pollution” and not always what is considered noisy and discomforting is in fact a high level of noise. The definition of disturbing noise can be subjective and it is known that in general noise considered inevitable is more tolerable than one considered avoidable. Intense rain resonating on the house roof can many times be considered an invitation to a calm night of sleep, whereas a barely audible drop of water leaking from the sink can be torture. A construction work that starts at 10 am and goes until 4pm in a neighboring building with drills at 90dB that seem to be inside your room is disturbing, even though it is socially and commercially legitimated. If the neighbor wakes you up every day with loud techno, funk, or carnival music at 60dB (level of screaming voice) for two hours every morning, would that be less tolerable than the construction work?
Types of noise that disturb people – 1961-62 – Central London Survey The definitions of high levels of noise and breaking the law of silence are difficult to legislate because they are subjective. On the other hand, noise pollution per se has distinctions and very clear specifications. In order to analyze the consequences of noise pollution, it is necessary to inter-relate high levels of noise with continuous hours of exposure, and the continuity of that exposure throughout a determined period of time. In the table below one can better understand this relationship. As an example we imagine a person who works in the offices of a factory and visits the area of heavy machinery (90dB) twice a day for ten minutes. Even if exposed to high levels of noise, this person is not at risk of having his/her hearing affected by the exposure, even if the noise causes disturbance. On the other hand, a person who works at the machinery area without hearing protection and is subject to the same 90dB during the 8 hours of daily work every day for 15 years is subject to 14% hearing loss. Hence, we consider that in this factory there is a problem of noise pollution.
Source: ISO Table 1999 Standard: Regulations for noise pollution. Below are examples of levels of noise of everyday life in decibels [1]: 160dB – Rocket launch 130dB – Pneumatic drill 120dB – Car horn 115dB –Rock band 110dB - Airport 100dB - Interior of a bus 90dB - Interior of a car 80dB – Congested residential street 70dB – Conversation between two people 60dB – Living room with music/TV 40dB - Bedroom 30dB – Recording studio 10dB – Threshold of hearing After some concepts that guided the beginning of the research were clarified, the objectives needed for its continuation were clearer. To detect noise pollution was not something that could be done individually through a “detector”, whereas previously, when determining the consequences of noise pollution, the most relevant was the situation that led to these consequences, as well as the creative possibilities generated by noise when it is freed from its context. To be subject to noise pollution defines the “listener” as a passive point of reference during the immersion in the environment. The investigation of Phonosynthesis seeks exactly the opposite, which is the disruption of the passive hearing commonplace through a change in the listener’s immersion experience in specific places and environments re-sounded in real time. If in a first moment the detection/complaint of noise pollution was the main focus of the research, in a second moment the possibilities of experimenting with the perception of the individual-collective sound spaces through appropriations and manipulations of the urban noise became more interesting. Appropriation of illegitimate noise By breaking habits of perception, it is possible to question what it is that determines that certain types of sound are considered noise or that certain high sound levels are considered inevitable (by whom?). With that it is possible to notice that what legitimizes the sound occupation of the public space many times is not the legislative, but conventions and social, cultural, and mainly commercial and industrial codes. The aesthetics of industrialization takes into account the functionality and visuality of its creations, but very often the sonority resulting from its objects is nothing but an illegitimate consequence of the friction of pieces, materials, forms and functions. No one thought about the tuning or the timbre of the head of a nail in contact with a hammer; or about a jackhammer breaking tarmac, about the engines exploring one meter away from the drivers; or that metal forks could sound perfect in touch with crystal glasses. No one imagined how our cities and equipments would sound if accumulated, and many times there is no time to notice that, together, these elements resonate information and sensation that go beyond what was not imagined in their production processes. The notion of what we recognize today as noise emerged with the invention of machines in the 19th century. In the old life, human beings were not capable of producing sounds that were much more intense than those produced by nature. Anything that sounded too different from the human voice was considered a threat, such as, for example, the roar of predators, storms, sub-bass thunders, and other natural phenomena [2]. The notion that noise is an uncommon sound and that it means tension, warning, danger or strangeness originated there; however, nowadays the sounds of the cities, with super-human volume and timbre, do not alert to any uncommon presence but right the opposite. They are a common and mandatory presence 24 hours a day produced by machines whose functions and sounds are deeply rooted in our perception. Implicit in the urban centers, the background noise of the cities is considered “inevitable” in our everyday life. If in terms of music one of the definitions of noise is a sound whose source of origin is unknown, in the cities the sounds that warn us are not the unknown sounds anymore, but known sound symbols such as sirens, alarms and horns. If on the one hand noise in the cities is something that we learn to ignore, on the other we also learn that our perception inverts picture and background bringing the noise to the foreground as soon as an alteration occurs on this background mass. In telecommunications and industrial production, noise is a sign of malfunctioning, interference, or instability in the equipments of transmission of information. We learn to ignore the constant presence of HD noises, air conditioning, refrigerators, and fluorescent bulbs until we hear a click, a crack, or a change of timbre. We ignore the car engines and the traffic flow until a strange sound behavior comes and awakes the perception, such as the explosion of exhaust pipes, or a strange speed is noticed by the sound of the engine rotation. The rhythmic, timbral and harmonic dynamics of our surroundings, which are still very complex, sometimes boring and other times aggressive, are constantly noticed and interiorized and, although we are used to ignoring the flow of these dynamics, we are hyper-sensitive to any alterations in their patterns. If from a technical point of view the analysis of noise has the power to expose deep gaps and indifference in the main voices of power, from another point of view to observe its qualities and sound features releases it from the condition of inevitable waste (as an illegitimate consequence of the industrial processes) and gives it a new meaning as a matter of extreme compositional power in the (musical?) environment. The thinking ear and the ambient (of the) music The futurist Luigi Russolo was the first influential thinker of the noise, revealing in 1913 in his manifest “The Art of Noise” (L’Art dei Rumori) that it would be a fundamental part of the sound-musical expression as it immerged in the big cities, factories, streets, etc. One of Russolo’s pieces is called “Music-noise: the awakening of a city-sheet-music for howls, sirens, buildings, whistles, corners, explosions, and gurgles”. To execute this piece, he created his own noise-making machine called Intonarumori (noise intonator), which he used in concerts around Europe right before the First World War. [3]
Source: Wikipedia: Luigi Russolo and the Intonarumori According to the manifest of Ambient Music of 1978[4], the sound environment in which we are immersed in the big cities is at the same time ignorable as an excess of sonic waste, but simultaneously interesting as ambient music exposing, through the sound relations, disturbing information about our everyday life, providing unique sensations to our senses. Noise is liberating due to the undetermined features present in its structures with high peak volumes, scanning frequencies, and rhythmic chaos. What can we think about listening to noise in the city and sound pollution in these circumstances? If music is like a language that communicates messages and structures, then noise can be something that blocks the transmission, ruins the code, prevents sense from being made.[5] If noise is the most subversive, aggressive, and apprehended level of vibration of the sound, how can we hear and appropriate of some of its contradictions, sound, locative psycho-physiological properties to generate, besides compositions, considerations about the urban sound space?[6] “The point of noisemusic is not to affect an outside enemy but to do self-subversion, to overthrow the power structure in your own head. The pleasure of noise lies in the fact that obliteration of meaning and identity is ecstasy.” [7] Incorporation of noise, sound art and locative music. During the beginning of the 20th century, the technologies that enabled sound appropriation were limited by the access to record equipment and magnetic tape, while the very idea of sound experimentation was related to those who had access to studios and electronic laboratories inside music academies and radios. From the 1970s, not only was the Musical and Phonographic Industry producing and distributing music and instruments, but the audio industry was also developing with the availability of hardware for audio, recording, and sound manipulation (such as samplers, loop machines, sequencers, synthesizers and walkmans). This way, ambient sounds became a bigger part of the musical production, and the introduction of the walkman led music to be heard individually in the streets automatically orchestrating its natural ambiance. If during a certain period of music history noise was present in the compositions because of its aggressive timbres and chaotic rhythmics, today we can say that it can be analogically recorded and digitally modified (or vice-versa) to the point of becoming as instrumented as a harp, the flute, or the drums.[8] These features, which for a long time have excluded noise from the musical universe, are now appreciated precisely because of the creative possibilities that indeterminacy may bring to the (non)traditional composition, in addition to the cognitive impact that the incorporation of noise causes in the perception of sound that was used to ignoring it. Any instrument or object today can be corroded. Even contemporary music [9] has been increasingly exploring the limits of the classical instruments of non-conventional forms, as well as how the instruments can be modified and “augmented” [10] with the insertion of components, electronic circuits, and processors of analogical and digital effects.[11] New sound activities/musical styles such as Found Sounds, Field Recording, Noise Music, Glitch, Cassette Tapezines, Circuit Bending, No-Fi, Chip Music, Bip-Hop not only investigate the insertion of noise as ambiance or instrumentalization, but also do they have their compositions fundamentally based on the exploration of sounds and noise of environments, spaces, objects, and electronics. With the diffusion of collaborative networks that allowed the boom of do-it-yourself processes, we live the popularization of the use of low-level programming languages, as well as the access to low and also hi-fi technologies such as integrated circuits, sensors, GPS, Wi-Fi, Arduino, softwares, databases, networks, and so many other examples. With all that, the spaces, people and limits that intersect in terms such as experimental vs. classical music, musician vs. sound technician; appropriation vs. sampling; and software programming vs. hardware hacking deeply contribute for these dichotomies to be undermined so that the open gaps can generate zones of thought. If we consider all these confluences as manifestations that can be articulated, such as “sound arts”, we can move more fluidly in a context of actions, works, and artivists that visualize hearing and sound productions expanded beyond the musical domain. Some of the works that influenced the research were Habitus by the French Cedric Maridet [12] and Box 30/70 Project by O + A (Bruce Odland and Sam Auinger), both from 2005. The first one is an audiovisual performance-improvisation whose setting is the backyard of a gallery located in Hong Kong in an elevated place, directed to bridges, heliport, a naval port, and tram rails. Two directional microphones were pointed to this noisy mass that constituted the only source of sound composition. Throughout the performance, real sounds of the soundscape are mixed live with manipulations of the captures in a software. At first the focus is the simultaneous perception of the two sound fields; however, with the evolution of the play, the perception changes from the real physical aspect of the mixing of experiences to a focus on the sounds per se, which start to lose their index reference. [13] The second work is an installation in New York where a container is positioned some meters inside a forest by a highway. The container has resonance metallic pipes, hollowed in their structure, that were built by studying the tunes and the harmonics of the sound mass of several places. The installation travelled for two years, since 2005, replying to several acoustic situations of cities in Europe and in the US. This is how it worked: the length of the “tuning pipe” defines the fundamental tone that the pipe will capture. Since the bass sound of an F note is 4 meters long, a pipe in the same size will have its harmonics favored and amplified. In spite of this musical filtering, several features of the urban environment remained recognizable, such as sirens, trucks, resonance of human voices and animal noise. Microphones especially prepared to capture the harmonic series of the pipes are installed in their ends, inside the box, to amplify the resulting melodies that are re-transmitted to the external environment through speakers installed outside. These works have two features in common that are fundamental for this research. First, both the production and the result of the sounds (input and output) happen in real time. Second, the sound elements of the composition are intrinsically related to the environment where the performance/action takes place in a way that the works only exist when they are performed and perceived together in the environment and context in which they are located. Whereas these works alter the listeners’ perception of the relation to the environment where they are inserted, they also interfere in the environment that determine them, not only giving back a presentation of the result, but also hacking its own support.[14] A third work used as a reference in the project was Harmonic Bridge by Bill Fontana, one of the pioneers in what started to be called in the end of 20th century sound art. His works are large scale and involve the recording of noise from a soundscape with microphones and sensors in network, simultaneously re-located to other soundscapes in juxtaposition. Fontana’s work strongly focuses on the idea of “hearing as a compositional act”, i.e. the idea that music is around us all the time and its patterns are audible from the moment that we allow ourselves to hear the ambient sounds. In 2006 he made an installation where a series of microphones connected to accelerometers (sensors of three-dimensional movement) were installed in steel cables and structures of the Millennium Bridge in London. The bridge worked as a gigantic string instrument activated by the passage of pedestrians, bicycles, wind and other ambient elements that made the bridge structures vibrate. The capture of the microphones was transmitted in real time to other locations. The sonic universe of the bridge is completely inaudible to the pedestrians, but through the sensors and microphones the internal dynamics of the vibration of the bridge could be acoustically mapped in real time to reveal a sound structure-sculpture.[15] This work was used as a reference because it has, like the ones cited previously, locative properties; however, what called for special attention was the fact that what generated the sounds was not the audible noise of the environment being transformed and filtered in search for musical relations in the sound chaos. The most interesting fact was that the inaudible noise generated by the movement of people affected the intrinsic properties of that object to which they related. This way, the resulting sounds affected people’s perception not for being modified, but for revealing the sound properties of an object that was considered “mute” until then. The resulting composition of the steel cable vibrations and the structures of the bridge were indeed very interesting; however, even more curious than manipulating its sonorities was to know that something that cannot be heard was in fact sounding. The steady objects do not rest in silence. Phonosynthesis v.01 – Technical Summary For some months, we recorded and collected data from locations of intense traffic in the cities of Belo Horizonte and Rio de Janeiro. This material then started to be compared and confronted with some reference manuals for noise control, analysis of the sound behavior of the traffic in big urban centers, graphs, and essays generated by research centers in technology, physics, physiology and acoustic psychology.[16] A big programming reference for the project at this moment was Noah Vawter’s [17] work. Armed with the basic concepts for the grounding of the project, we started to analyze parameters of traffic and the program of Phonosynthesis. Features of the program: -capture via condenser microphones -internal analysis of dynamic elements -conversion of the dynamic data from the external environment into numeric values -creation of digital synthesizers that receive inputs of numeric variations -reading of the values stemmed from the analysis of the sounds of external environment through external wave oscillators -spectral analysis and comparisons of the results Dynamic data from the external environment to be analyzed: - detection of a fundamental tone in continuous sounds - detection of attack - analysis of sub-bass - harmonics - variations of volume
Interface do Phonosíntese v.01 no Pure Data Prepared synthesizers and effects (from left to right) 1 - Low Drone Octave Ring Modulation 2 - Vibrato 3 - Mini-mic Sampler 4 - Pitch and Amplitude to Frequency Converter 5 - Street Bonk-to-Bass Synth 6 - Automatic Ambient (des)Harmony 7 - Mixer
Example of a spectrum analysis of a 30-second excerpt of Av. Nossa Senhora de Copacabana (RJ) at 6:15 pm. In the first block we have the spectral analysis of the excerpt played by synthesizer 4 that generates oscillations of synthesizers with frequencies analogue to the values found in the variations of volume and tempo. In the second block we have the analyzed excerpt with no alterations monitored directly from the microphone. In the third excerpt a refinement of the programming of the same synthesizers shows how the noises and the sonic excesses of the spectrum of the sound directly captured (represented in the visible granulations in the middle block) are eliminated by the process of phonosynthesis once this one does not work with manipulation via direct filtering of the sounds captured, but re-sounding with precise electronic oscillators of values found in the dynamics of the analyzed environment. back to the top 1. Schafer, Murray. The Soundscape. 2. Schafer, Murray. Our sonic environment and the tuning of the world. 3. Russolo was a painter. In music, it was not until the 1950s that the researches about appropriation of noise reappeared. In the 1950s in France, the first experiments with concrete music started. From recordings, sampling, and manipulation of speed in magnetic tape in the studios of Radio France, Pierre Schaeffer composed several pieces and formulated theories about sound perception, hearing, and sound liberation as independent sound objects. These should be dissociated from instruments and the original environments to be analyzed from musical parameters such as texture, timbre, pitch, duration, resonance, etc. 4. Licht, Alan. Sound Art: Beyond Music Between Categories. 5. Attali, Jacques. Noise: The political economy of Music. 6. Licht, Alan. What is Sound Art? 7. Reynolds, Simon. Noise: A history of Noise/Music. 8. The French D'Incise’s album Les restes du Festin (2007), available for free on the website (dincise.net) brings an interesting consideration in the description of the album production. In this record, he musically organizes recordings of objects, environments and noise: “most of these productions were built around micro-cuts in several improvised ambient recordings” (free translation from Portuguese). 9. With deep influences in the eastern and Mediterranean dissonant tones, as well as in the experiences of the prepared instruments and considerations about sound, silence, and noise by John Cage.. 10. Reference to the term “augmented reality” very much used nowadays in research about interactive technologies. 11.It is important to make clear that the intention of this sentence of to say that EVEN the classical musicians (sometimes conservative, exclusivist and reactionary) are dialoguing with new technologies, but they are definitely not the only or the main ones to experiment with these dialogues. Quite the opposite; with the new technologies and the emergent interactions many programmers, musicians, mathematicians, artists, etc. are intensively relating to the sound field. 12. French sound artist who lives in Hong Kong since 1999. In his work he researches the intention of hearing as a way of understanding essential connections of sound art with the holistic perception of space. 13. Maridet, Cedric. Habitus in situ: performance notes and artist statement. 14. Cedric’s work was an important reference because, if in a first moment the microphones of the noise pollution detector only showed the levels of noise, the ideas of working other possible variations of the data besides the volume detection became more evident. The installation by O + A, on the other hand, matured the desire that system worked by itself. Once determined the means and programmed the capture parameters, the system could stand alone making the synthesis of the noise captured. 15. http://www.netzradio.de/box3070/text/ - To hear the Harmonic Bridge’s recordings, please access the project’s website at Tate Gallery. http://www.tate.org.uk/modern/exhibitions/fontana 16. (1)Miyara, Frederico - How much noise is too much noise? (2) Tatum, Jeremy, Ph.D - Explanatioin of decibel levels (3) Tatum, Jeremy, Ph.D - The physics, physiology and psychology of noise (4) Mose, Tyler - evolution of noise control technology (5) Randrianoelina, A. and Salomon, E. - Acoustic 2008 Coference- Traffic Noise in Shielded Urban Areas. 17. Noah Vawter – American musician and enginneer who is currently a PhD student at Computing Culture Research Group (M.I.T. - Massachussets). He creates musical instruments with the intention to democratize notions of engineering, maths, computing, and hardware hacking. In 2005 he created Ambient Addition. This “instrument” is like a walkman or any other type of player but, instead of playing sound from inside its memory, it “plays” ambient sounds, because it has two bibaural microphones and a small signal digital processor. From pre-organized parameters, the processor recognizes patterns and imposes layers of harmony and rhythm to the inputs of noise from the external environment, always seeking to harmonize it with the fundamental tones detected in the sound sources. back to the top BIBLIOGRAPHY ATTALI, Jacques. Noise: The Political Economy of Music. Minneapolis: The University of Minnesota Press, 1977. CAMPOS, Augusto. Música de Invenção. São Paulo: Ed. Perspectiva, 1998. HEGARTY, Paul. Noise: History of Noise/Music. New York: Continuum, 2008. KOELREUTTER, Joel. Musica Viva. São Paulo: Musa, 2001. LICHT, Alan. Sound Art: Beyond Music Between Categories. New York: Rizzoli, 2007. MILLER, Paul D. Sound Unbound. Cambridge/London: The MIT Press, 2008. SCHAFER, R. Murray. The Soundscape: Our Sonic Environment. Destiny Books, 1997. Brooks, Rick. (2000). How much noise is too much noise? IEEE802.3af. www.ieee802.org/3/af/public/nov00/brooks_5_1100.pdf Tatum, Jeremy, Ph.D. Explanatioin of decibel levels. (1996) University of Victoria, SSAP. http://www.quiet.org/readings/tatum.htm Tatum, Jeremy, Ph.D. The physics, physiology and psychology of noise. (1996) University of Victoria, SSAP. http://www.quiet.org/readings/tatum.htm Mose, Tyler. Evolution of Noise Control Technology.(1995). Noise Sollution Inc. www.nonoise.org/library/eunoise/greenpr.htm Randrianoelina, A. and Salomon, E. (2008). Traffic Noise in Shielded Urban Areas. Paris Acoustic Coference http://www.acoustics08-paris.org back to the top SOBRE A AUTORA Vanessa de Michelis is sound designer, born in Belo Horizonte, where she lives and works. Researches the construction of personalized music instruments in hardware and software, the creation of soundbases in studio, field recording, direct recording and sound antropology. She is the founder of the creative commons netlabel Azucrina Records and of the multimedia collective Azucrina.org. She currently develops the Noise Pollution Detector project at Marginalia+Lab, the Pure Data research group in Rio de Janeiro PD Objetos, besides being collaborator of the sites for sound research Soundcities (Holland) and Freesound (Belgium/Spain). COLLABORATORS Barna Alvares: Acoustic Engineer Cedric Moneme: Sound Artist Julio Braga: Musician/Direct Sound/Audio-technology Marcelo Dante: Captures and video recordings Paulo Barcelos: Programming in Processing and developer of the Spectogram Writer used Paulo Casaes: Programming in Pure Data and digital synthesis voltar ao topo |
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