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AbstractThis paper describes large scale implementations of spatial audio systems which focus on the presentation of simplified spatial cues that appeal to auditory spatial perception. It reports a series of successful implementations of nested and multiple spatial audio fields to provide listeners with opportunities to explore complex sound fields, to receives cues pertaining to source behaviors within complex audio environments. This included systems designed as public sculptures capable of presenting engaging sound fields for ambulant listeners. The paper also considers questions of sound field perception and reception in relation to audio object scaling according to the dimensions of a sound reproduction system and proposes that a series of multiple, coordinated sound fields may provide better solutions to large auditorial surround sound than traditional reproduction fields which surround the audience. Particular attention is paid to the experiences since 2008 with the multi-spatial The Morning Line sound system, which has been exhibited as a public sculpture in a number of European cities.
CitationLennox, P. and Myatt, T., "Perceptual cartoonification in multi-spatial sound systems", Proceedings of the 17th International Conference on Auditory Display (ICAD2011), Budapest, Hungary. 20-23 June, 2011. International Community for Auditory Display, 2011.
JournalProceedings of the 11th International Conference on Auditory Display
TypeMeetings and Proceedings
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Composing space: the ecology of artificial auditory environmentsLennox, Peter; University of Derby (University of Derby, 27/11/2012)Whilst various spatial formats for music reproduction exist their reason for existence is not always clear; “spatiality” as a set of musical parameters remains on the periphery of musical thought.Pioneering composers continue to explore the possibilities of spatial music, they sometimes face unnecessary (if not insurmountable) impediments in the form of unsuitable technological implementations. This work is part of on-going research to develop intuitive compositional spatial sound tools that can incorporate elements of naturally available spatiality into musical syntax. In highlighting unnecessary technical constraints that are underwritten by conceptual constraints, we hope to help to break the deadlock. We look forward to spatial composition becoming more ambitious, subtle, engaging, immersive and innovative.
The emotional contents of the ‘space’ in spatial musicLennox, Peter; University of Derby (International Conference on Music and Emotion, Durham, UK, 2009-09)Human spatial perception is how we understand places. Beyond understanding what is where (William James’ formulation of the psychological approach to perception); there are holistic qualities to places. We perceive places as busy, crowded, exciting, threatening or peaceful, calm, comfortable and so on. Designers of places spend a great deal of time and effort on these qualities; scientists rarely do. In the scientific world-view physical qualities and our emotive responses to them are neatly divided in the objective-subjective dichotomy. In this context, music has traditionally constituted an item in a place. Over the last two decades, development of “spatial music” has been within the prevailing engineering paradigm, informed by psychophysical data; here, space is an abstract, Euclidean 3-dimensional ‘container’ for events. The emotional consequence of spatial arrangements is not the main focus in this approach. This paper argues that a paradigm shift is appropriate, from ‘music-in-a-place’ to ‘music-as-a-place’ requiring a fundamental philosophical realignment of ‘meaning’ away from subjective response to include consequences-in-the-environment. Hence the hegemony of the subjective-objective dichotomy is questioned. There are precedents for this, for example in the ecological approach to perception (Gibson). An ecological approach to music-as-environment intrinsically treats the emotional consequences of spatio-musical arrangement holistically. A simplified taxonomy of the attributes of artificial spatial sound in this context will be discussed.
Music as artificial environment: Spatial, embodied multimodal experienceLennox, Peter; University of Derby (Routledge, 26/04/2017)This chapter is a speculative exploration of the near-future possibilities of spatial music. Technologically, we can control many hundreds of loudspeakers and, conceivably, many thousands. What would we do with them? Here, music is considered as a particular example of arti cial information environments, with consequences for the perception of space. Arti cial information environments are those environments in which information transactions are governed by design. The distinction is clear in comparison with natural environments, but a ner distinction can be drawn between man-made environments (such as buildings), where some information transactions are haphazard, and information environments whose main purpose is to display information.