sound privacy
feeling home
inspiration
sound privacy
Interview
concept
a journey called Axelle Moser
is 23 years old, she comes from France and study in Paris in a business school. She didn’t spent more than one month in her original country since two years. She travel to South America and China. She’s now doing an internship in Shangaï
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home
.How do you define the word ÂŤhomeÂť? .Which rituals every morning/evening make you feel feel at home? .What is the thing you always take with you when you move to an other country (an object, a smell,...)? .Do you have a real private space, reserved only for you? .And do you feel you need this kind of space?
«To feel home is now about «where you live most of the time» or « the house where you grew up». It’s actually difficult to give a definition of the word HOME at our age because we left the house of our parents ( it’s actually THEIR house and not yours!) and we will be properly install only in few years when we will have find a job, the love of our life or a reason which will make us stay a while in the same place. Actually We even don’t know if we will find the country, city or place in the city where we want to live for ever in 5 or 6years. Nowadays everything is so flexible and internationale that it’s not difficult to project yourself living in Canada, Spain, United States... A story which can show how I can feel home in Shangai: I was in Starbuck with two friends of me working on a presentation for school. And I realize that I was in China, 6h jet lag from Paris, plenty of chinese people around us, we speak english between us and I suddenly feel so much more home that in the bus in Paris to go to school in the morning last year. For me people mean more home than the place, the furnitures or material stuff. For example when I went to Israel for a wedding I saw my sister again and I never felt so much home than with her. She’s my family and anywhere with her I know I will feel home. About traveling, I count and I lived in 7 differents places since the beginning of my studies. And where I felt the most home was in Barcelona. I spent 2months being happy non stop because I was surrounding by people I love. Else each time I move to a new place, I begin to feel home when you begin to feel the daily life. When you know which shop is at this corner of this street. When you baker begins to know you ( in China you have skewers seller to replace!).»
sound privacy
"The only thing which follows me everywhere is my music."
That’s the only really important thing I always bring with me when I travel. Because when I listen some songs it reminds me of those people I love."
"How music can bring you privacy?"
For Axelle music is a way to think about the persons she loves when she’s travelling. Music becomes also a travel. A travel in your mind, in your world. Music is a private journey. Because music is unmaterial, it becomes already a dreamy and blurry travel which only feelings can catch. From this point I was interested in the power of music on people. And on people who are doing music themselves. Because I believe that if you create sounds and music, you are a better and sharper listener and music is not only feelings but also material to work with.
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.When do you listen the most music? In which kind of environment? . How do you perceive music? What are you looking for when you listen music? . Do you think listening music is an holy moment? Should you share it with other or better alone? . Creating sounds does it make you listen music differently?
a/ i listen to it almost exclusively in my room. i don’t have an ipod: i like to walk with only my own headnoise. b/ i like to listen to stuff which trigger me mentally, but also creative. stuff that is different, weird ‘n’ abstract, ... but also danceable or emotional stuff. it just has to feel honest, whatever that might be. c/ i just came out of maybe half a year of almost never listening to music (except my own), because i couldn’t handle the stimuli. i needed silence ‘n’ calmness. now i start back listening to stuff, ‘n’ that’s mostly on ‘holy’ moments yes: really putting something on, because it fits exactly what you r looking for. i can get really bothered if there s constant music (and definetely when it’s not what i wanna listen) d/ définetely. i listen to songs ‘n’ their entirety, but simultaneously to all the elements individually. like a little small hook or a detail can be enough to enjoy, or to hate a track. it’s cool because the ‘analyzing’/cutting a song up in its layers goes very natural, it’s not a intellectual, conscious act.
Misha Gurovich
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Vincent Van Dijck
Most of the time I listen to music by myself. When Im at home, or on the street going somewhere. When I listen to music Im looking for a soundtrack for my life. Im listening to music that fits my mood/surrounding/activities/ weather and e.t.c. I think there are two different types of music. First one is very intimate, which you mostly listen by yourself, or with very close people that can understand and share a value of this sound. And the second one is the music you listen with a group of people no matter what size. But this is usually music that you dont choose by yourself. It might be a party, classic concert or funerals. When I got into music writing my whole perception of music changed. First I started to paying more attention to what I hear. thinking about how i could implement this or this into my own composition. You become more honest with yourself about what music you actually like. And its quite usual that music you are writing yourself is completely opposite of what you are listening to on daily basis.
Niek Van der Weerd
At home in my room. That depends on what/when/where. At home is often to relax, at a party is to get a good energetic vibe, etc. Holy no, sacred yes. For the sharing it depends again. Some moments I like to listen music on my own and at times i like to share it. Eventhough, i think that whether i’m with friends or on my own, music is a personal experience, hence everybody will experience a moment slightly differentl.
Ricky van broekhoven
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Creating music is always been, when I was a child I begin to play the piano. I was attracted to music since I was a child. Very soon I had this fascination for electronical music,I tried to recreate that. Recompose the bit and analyse it, extrated the instrument part to build it up again. I still evolve in it but now I begin to listen music not as one piece but as different elements combine together. And sometimes it’s hard because now I always listen music like a recipe point of view: all the ingredients separate. And on some point you don’t want that. The songs I really enjoyed before, I’m actually take the apart and I have all this loose part which I don’t like that much anymore. But after a while I begin to enjoy it from a different perspective. And enjoy the way it’s composed. Before it was more “I enjoy it because it gives me a nice feeling”, and I like different part in the music but now I’m more like it’s great how those elements are brought together and the composition. I became sharper listener but specially I can appreciate more when something is done very well. Like piano concert. You suddenly become more aware of the talent and the quality of the sound. When I’m in the train it’s the perfect moment to listen music and to be focus on only that. You just look outside the window, see the world comes by until your destination.
Also I listen music on my bike again, I didn’t do it for a long time but I pick it up again. Because on certain point I stop to do it, I like to don’t have this cocoon around but be aware of the sound which surrounding you. I actually
to have my personal environment when I was living in Amsterdam. It makes sense because it such a busier city than Eindhoven. Crowded and crazy, different than Eindhoven. prefer
I stop doing it when I came here (no need of personal space though music anymore). Sound is very tangible, I mean everything is vibra-
tions. Light is vibration but sound is vibration is really
low frequency. But I don’t want to know too much about the scientist part of the sound ( loose a part of intuition, inspiration when you know you can control everything you want to do: there is kind of no place for hasard or creation in the scientist process, all is logical, has rule and has to be right). I’m not interested in the complete mechanic of the sound because on some points it is what it is: a great song is a great song because you have a great feeling or it’s connecting to all kinds of memories or people. That’s the magic and that’s just suppose to be like that. I want to operate within this kind of box of magic and not to step out of it. It’s fascination, it’s hard to point it out.You can trace it back but on some point you just stop and it just is.
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Quality of sound it’s what I want to create with those speakers. Because high quality, high5sound is something completely magic. You have some people who are obsess by it. Most people haven’t heard what is it like to ear sound in a really clear way, level. I went to a demonstration of “the magician” of a big brand of
clear sound
speaker (he’s Japanese) who is working on . It was totally crazy to ear that sound was there, you could walk into it and grab.You were just sitting there in a chair and it was something like a concert hall ( where they record the sound)
had the feeling to be completely in the wrong space. It was so weird and
but I
so strong, it touches you on a deeper level. Because you could focus on every little details. That’s something amazing and it’s something I want to give. It’s for that I don’t want to make crap speakers that just look good but they really need to sound even better. But it’s something I can’t do myself, I need someone who is really specialize in that.
ME: music is a new way of travelling. So I researched on how people perceive et listen music. What I believe is more you work on it more you become “sharper listener” and more you can travel further. Music is really personal, already private. When you put music during a party or when you are with friends, you
want to share your
feelings at this moment and also you shape the atmosphere through it. It really comes from you.
Now it is really easy to listen everything all the time. Music became a product that you consume. Before you have to take the time to listen music, to find the space, to find the record or the song you want to ear, you don’t always choose the music. But we still love to go to concert, to get perfect sound but also has the life part of this abstract concept which is music. Before it was more holy moment to listen music compare to nowadays. Ricki: But why do we have music? Why do we make it? In every culture has their own music, dance… But you need sound to dance on, you need music. Dancing is also a nice way to shape music, to express it. concept of the walkman: you
have your own music, it’s something personal, you can share with one people, then we have now silent disco where everybody has ear plug sharing the same music in a big space but has their own private moment.
Trying to share the music you love to people you love is the only path you can take if you want he understand your feelings about it because you could never express with words your feeling of it. It’s a new way to connect deeper. Music is connected to something bigger but it’s still abstract because it’s not materialized. I feel lots of people see music like something you add on top of things but it exist on its own. Music has to be honest. And if you have a sharp ears you can feel because it touches you deeper.
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POSSIBLE RESEARCH .music and architecture .music and dance .music has a travel, to bring you somewhere ( in the musician world through his behavious, or really far from the real concrete place on the moment thank’s to the clear sound, somewhere else) .sharing music: .WITH yourself: on your bike to cut yourself from the too much noise and to be focus .with one people: to share your deep feeling which appears thank’s a song (words are not enough deep to share the exact sensation) .with a few people: silent disco. In a public space, few people have ear plug and they are link by sharing the sound who nobody not part of it can’t share. .with a crowd : concert is about the live music, experience of the atmosphere
public position for blurry ( bigger so more public) sound
private position for sharper ( smaller so more private) sound
inspiration Kathrin Stumreich FABRICMACHINE
nteractive Installation Two fabric loops, driven by a motor divide space. At certain points there are light sensors installed to receive signals from the opacity of the textile, which get translated into audio signals.The musicality of the instrument can be experienced by sliding or positioning the sensor across the fabric tracks. It works as Mediaperformance as well as an interactive sound art installation. Musicality and design Fabrics which differ in their weaving technique, are sewed one after another (each loop consists of 196 inch length, with a width of 4,2 inch), creating a fabric track. The basic parameters which take influence on the sound generation and can be chosen by playing consist of the following: The tone pitch is created by the quality of the fabric, weaving tecnique, basically this is the amount of threads interrupting the light per second. Breaks and rhythm are due to the seam, and the length of each sort of fabric. The arrangement of the fabrics in aspects of lenght, quality and the connecting seams are additive parameters for composing a rhythm or a flowing change of the tone pitch .
Performance For the playing tecnique the positioning of the LED at the top of the fabric and the Photodiode at its botton is important to take influence on the sound performance. Sliding, lifting and approaching gives certain effects. By varying the speed of the motors and the distance between Led and fabric I set up different rhymic lines and combine it with different frequencies with the other led. One loop is more focused on rhytmic elements, while the other plays with pitch.
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Mattia Casalegno Unstable empathy
Unstable Empathy is a collaborative experience in which
the meanings of cooperation, entangling and consciousness are directly perceived at the physiological level. It’s an intimate environment re-mediated in real-time by the mind activity of two players which are constantly forced to negotiate their emphatic state. At each session, EEG headsets are being mounted on the heads of two participants which will be positioned in front of each other in complete darkness. With the only prompt to “feel�, the players develop their own methodology of interaction, to finally discover their own physiognomies superimposed and experience their selves as a single entity. - See more at: http://www.mattiacasalegno.net/unstable-empathy/#5
martin kim luge the digital wind
The transfer of data is becoming more and more unvisible. Wireless technologies like mobile phones, RFID, bluetooth and wifi, make sharing information both more ubiquitous and convenient. The digital wind use the metaphor of the wind. Both real wind and wireless networks alike, change their direction and strength. The „Digital Wind“ instrument transforms the wifi signal of a building or room into sound. As feedback the visitor can hear a real wind sound. A stronger sound corresponds to a better quality of the signal. By walking around with the instrument in his hand, the visitor can interact with the invisible medium around him. He gets a feeling for the strength and shape of the field that is sourrounding him, and thereby gradually becomes a more conscious musician. Having several people interact with multiple instruments, creates an ensemble of wind sound.
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Bureau de Mesarchitecture Instrument for Blank architecture
Instrument for Blank architecture is a mobile listening device that is able to adapt to the space which it occupies. A tripod equipped with a spirit level, generally used by land srueyors to survey sites, transfors into an instrument that is dedicated to the exploration of mental landscapes in this installation. In the installation there is an empty space occupied only by sound helmets perched on tripods. When the visitors places the padded helmet on his or her head, their ability to see is greatly reduced, while their sense of hearing is conversely, accentuated.
MARKUS KISON TOUCHED ECHO Using bone conduction, a technology developed for hearing devices, the touch echo installation transmits sounds of the cities which were devastated in the 1945 carpet bombing in the Second World War, through the arms of the visitors when they rest their elbows on the balustrade and hold their ears closed. Several custom-made sound conductors mounted to the railing send sounds of airplanes and bombs exploding through vibrations; it is completely silent unless you touch the railing. The installation touched echo is a minimal media intervention set within a public space. The visitors of Brühl’s Terrace in Dresden are taken back in time to the night of the terrible air raid which devastated their city February 13, 1945. In their role as performer, the visitor imagines themselves in the place of the Dresden inhabitants who must have closed their ears tightly in fear to shut out the horrendous noise of the explosions 65 years ago. When one leans on the balustrade the sound of airplanes and explosions is transmitted from the swinging balustrade through one’s arm directly into the inner ear.
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The most important characteristic of sounds that have a definite pitch is that they have a repeating waveform. With audio oscillators we can generate what are considered to be the 4 most basic waveforms, the sine, triangle, square, and sawtooth (or "ramp") waves. These waveforms, in that order, represent a steadily increasing complexity of shape and of timbre as the number and strength of the harmonics for each wave form increases. (Some folks consider the ‘pulse’ wave to be among the basics but I consider it a more complex cousin of the square wave so I haven’t included it here.)
Basic Audio Wave Shapes
how to shape
1: Sine Wave - sounds like the lowest of the samples because it is only playing the fundamental frequency or «pure tone» of 110-Hz.
2: Triangle Wave - sounds somewhat higher, richer, and a bit louder because the fundamental frequency is joined by the odd harmonics which are those frequencies 3x, 5x, 7x, etc. above the fundamental, in
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a wave of sound? 3: Square Wave - sounds higher, richer, and a bit louder still. It is similar to the triangle wave in that only odd harmonics are present, however the harmonics are louder relative to the fundamental frequency and so have a greater impact on the timbre of the wave
4: Sawtooth Wave - also called a «ramp» wave for obvious reasons is the most complex of the basic wave shapes. You can view it as the ‘front end’ of a triangle wave and the ‘back end’ of a square wave. The more complicated shape generates more overtones, in this case every harmonic is present at gradually decreasing levels.
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technical aspect: which material absorbes sound?
excerpted from Mix, August 1997, “Room Acoustics: Basic Principles of Reflection, Diffusion and Absorption,” by David R. Schwind) All materials have some sound absorbing properties. Incident sound energy which is not absorbed must be reflected, transmitted or dissipated. A material’s sound absorbing properties can be described as a sound absorption coefficient in a particular frequency range. The coefficient can be viewed as a percentage of sound being absorbed, where 1.00 is complete absorption (100%) and 0.01 is minimal (1%). Incident sound striking a room surface yields sound energy comprising reflected sound, absorbed sound and transmitted sound. Most good sound reflectors prevent sound transmission by forming a solid, impervious barrier. Conversely, most good sound absorbers readily transmit sound. Sound reflectors tend to be impervious and massive, while sound absorbers are generally porous, lightweight material. It is for this reason that sound transmitted between rooms is little affected by adding sound absorption to the wall surface. There are three basic categories of sound absorbers: porous materials commonly formed of matted or spun fibers; panel (membrane) absorbers having an impervious surface mounted over an airspace; and resonators created by holes or slots connected to an enclosed volume of trapped air. The absorptivity of each type of sound absorber is dramatically (in some cases) influenced by the mounting method employed.
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1) Porous absorbers: Common porous absorbers include carpet, draperies, spray-applied cellulose, aerated plaster, fibrous mineral wool and glass fiber, open-cell foam, and felted or cast porous ceiling tile. Generally, all of these materials allow air to flow into a cellular structure where sound energy is converted to heat. Porous absorbers are the most commonly used sound absorbing materials. Thickness plays an important role in sound absorption by porous materials. Fabric applied directly to a hard, massive substrate such as plaster or gypsum board does not make an efficient sound absorber due to the very thin layer of fiber. Thicker materials generally provide more bass sound absorption or damping. 2) Panel Absorbers: Typically, panel absorbers are non-rigid, non-porous materials which are placed over an airspace that vibrates in a flexural mode in response to sound pressure exerted by adjacent air molecules. Common panel (membrane) absorbers include thin wood paneling over framing, lightweight impervious ceilings and floors, glazing and other large surfaces capable of resonating in response to sound. Panel absorbers are usually most efficient at absorbing low frequencies. This fact has been learned repeatedly on orchestra platforms where thin wood paneling traps most of the bass sound, robbing the room of “warmth.� 3) Resonators: Resonators typically act to absorb sound in a narrow frequency range. Resonators include some perforated materials and materials that have openings (holes and slots). The classic example of a resonator is the Helmholtz resonator, which has the shape of a bottle. The resonant frequency is governed by the size of the opening, the length of the neck and the volume of air trapped in the chamber. Typically, perforated materials only absorb the mid-frequency range unless special care is taken in designing the facing to be as acoustically transparent as possible. Slots usually have a similar acoustic response. Long narrow slots can be used to absorb low frequencies. For this reason, long narrow air distribution slots in rooms for acoustic music production should be viewed with suspicion since the slots may absorb valuable low-frequency energy.
Filed under: News | Mobile Phones Sanyo TS41 Bone Phone on Sale in Japan by Luigi Lugmayr
We reported about the Sanyo TS41 bone conducting mobile phone early December. Tu-Ka cellphone group in Japan is selling the TS41 now for one month and has healthy demand for the unique phone. If the user holds the handset to the top of the head, the back of the head, cheekbone or jaw and plugs his or her left ear, the call will be heard internally on the left side. The Tu-Ka group has launched a major advertising campaign for the new cellphone, featuring a young woman and a X-ray image of her skull using the handset. The cellphone is priced at 7,800 yen (73 dollars) each at the discount store. Tu-Ka firms belong to Japan’s second largest telecom carrier, KDDI group.
Now I’m working on how to reduce sound to get more privacy. Because from my experience: living with people means to deal with their way of life and their sounds/ noise behaviour. For that I wanted to get quite moment even if you are in a common room and you don’t want go to your private space to get a private moment.You want to still enjoy the common space, the atmosphere and the people without beeing anoid by their sounds, music. So I took the couch as my first base because it’s an object which could be both a private island or a sharing seeting place. So you can enjoy this furniture in the environement of the living place in different circonstances. First of all I experiment different material and position on the couch which could makes you feel more private or soundproofed space out of the sound atmosphere. So the idea was to collect materials around to experiment the soundproof efficiency of each of them. So I used as well fabric as metal, plants, cardboards, wood... Finally fabric was the most efficient soundproof effect. So my point now is to build an extra aspect or function out of the couch we use. I want include part which you can pull out to extend your private sound space. I want thoses part are completly included in the couch and you be sutaible for 1,2 or 3 people. Couch becomes modulable. And you can play on it like you need it too. At the same time I was also super interested
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your private sound space
daily
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position
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