Sound Mirror Research Articles

Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere

How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro’s Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute’s Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification.

I Can Still Hear You


 
 
 I Can Still Hear You is a series of etchings on copper made during 2018/19 by Michelle Keegan, Senior Lecturer in Printmaking at the University of Northampton. Her creative process is centred on the Sound Mirrors located in Denge on Romney Marsh in Kent. These are giant concrete structures hidden in a desolate and austere landscape that were the precursors to the birth of radar. Keegan examines her relationship with place and being permanently in transit. Keegan writes of her relationship with etching, and gives us an insight into the spontaneity of her approach to printmaking. The work explores conversations of loss and a remapping of space.
 
 

The Weight of Water by Sarah Crossan (review)

Reviewed by: The Weight of Water by Sarah Crossan Karen Coats Crossan, Sarah . The Weight of Water. Bloomsbury, 2013. [240p]. ISBN 978-1-59990-967-7 $15.99 Reviewed from galleys R Gr. 6-9. In this verse novel, Kasienka and her mother emigrate from Poland to England in search of Kasienka's father. Because of her weak English skills, Kasienka is put in sixth grade instead of seventh where she belongs, and because she is white among a community of brown and black immigrants, she is ostracized from the start and even actively bullied when she is moved to her rightful grade. When she learns of her father's address, she seeks him out without telling her mother; when she finds him happily settled in a relationship with a kind woman and a new baby, her sadness is overtaken by anger. Meanwhile, though, she has attracted the attention of William, a boy she met at the community swimming pool; he encourages her to go out for the swim team and stand up for herself, and his kisses and attention, combined with the friendship of a Muslim girl and Kasienka's success as a swimmer, enable her to gain perspective on her own situation as well as her relationship with her estranged parents. The verse form highlights Kasienka's emotional arc through the events that shape it; sharply observed, imagistic impressions of her first days in her new home and in school give way to more nuanced depictions of her feelings as she suffers her classmates' bullying and tramps through the streets looking for her father. The most affecting poems are the ones where she talks about William; the exhale of the "w" sound mirrors her letting go of her repressed anger and fear in favor of balance in and out of the water. Her closing insight, "I know when to come up for air,/ When to keep my head down," is therefore more than a technique for mastering the butterfly stroke. Pair this with Applegate's Home of the Brave (BCCB 2/08) and Tan's The Arrival (BCCB 1/08) for a revelatory and many-sided discussion of the emotional aspects of immigration. Copyright © 2013 The Board of Trustees of the University of Illinois

Perspectives on Sound-Space: The Story of Acoustic Defense

ABSTRACT The late 1920s yielded the development and construction of several large-scale “sound mirrors,” along the southeastern coast of Britain, aimed at intercepting sounds of approaching aircraft outside the visual range. A central mode in the design of these long-range listening devices emphasizes a sonic paradigm in which frequencies are considered in terms of corresponding physical sizes. By examining the case of the sound mirrors as a formative moment within the broader reconfiguration of listening habits, the author attempts to locate a shift in the grasp of space that occurs when an optic model of viewing is replaced with an acoustic model of listening, exposing a condition in which the close-at-hand and the far-off momentarily coincide.

Study of a sound field separation technique based on a single holographic surface and wave superposition method

In order to overcome the limitation of traditional near-field acoustical holography (NAH), that the sound field on one side of the holographic surface must be free, a sound field separation technique based on single holographic surface and wave superposition method (WSM) is proposed. According to the WSM, the field on and near the measurement surface may be approximated by the field produced by virtual source points placed on a surface inside the structure. The source strengths are evaluated by applying boundary conditions on the measurement surface. Here, the ‘pseudo’ sound pressure of the reconstruction surface is first obtained based on the principle of sound field mirror image and WSM, then the sound pressure of the target sound source acting on the holographic surface is separated by the sound pressures of the holographic surface and the reconstruction surface, and the sound field separation is realized. The technique requires the inversion of the Green's function matrix, which may be ill-conditioned. The Tikhonov regularization method is used to invert it, and the value of the regularization parameter is determined by the L-curve criteria. Through the numerical simulation and experiment, the results show the validity and efficiency of this technique.

Two Orphic Poems

Research Article| March 01 2008 Two Orphic Poems Andrew Joron Andrew Joron Berkeley, CA andrew_joron@yahoo.com Andrew Joron is the author of several books of poetry, including Fathom (Black Square Editions, 2003) and The Sound Mirror (Flood Editions, forthcoming). A selection of his essays and prose poems, The Cry at Zero, was published in 2007 by Counterpath Press. He lives in Berkeley, where he works as a freelance proofreader and indexer. Search for other works by this author on: This Site Google English Language Notes (2008) 46 (1): 175–176. https://doi.org/10.1215/00138282-46.1.175 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Andrew Joron; Two Orphic Poems. English Language Notes 1 March 2008; 46 (1): 175–176. doi: https://doi.org/10.1215/00138282-46.1.175 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsEnglish Language Notes Search Advanced Search The text of this article is only available as a PDF. Copyright © 2008 Regents of the University of Colorado2008 Article PDF first page preview Close Modal Issue Section: Cluster 2: Time and the Poem You do not currently have access to this content.

The Listening Mirrors

Between the World Wars use of a concave profiled concrete surface (a sound mirror) to reflect sound waves was thought to be the answer to the early detection of aerial attack. Ultimately, this technology was superseded by radar and the experimental work on sound reflection and collection was abandoned. As a result, the south and east coast of England is scattered with the remains of such forgotten concrete structures. The only extant collection of these structures is at Greatstone in Kent, where three sound mirrors remain and have been listed as scheduled monuments. One of the largest projects funded by the Aggregate Levy Sustainability Fund and managed by English Heritage was concerned with stabilizing these structures and undertaking research into their repair.This paper aims to outline the conservation approach to the project and to detail the concrete repair techniques trialled. It also highlights some pointers for the repair of twentieth-century concrete based on the advice of a master mason and a concrete repair contractor. Finally, the long-term monitoring that is in place for the carbonation inhibitors and cathodic protection systems that are installed on these structures are detailed.

Unwanted and wanted sound

Active noise control is becoming a practical way to quieten our environment, with, for example, interior trim panels in aircraft cabins that can react to and cancel out noise. Other automated acoustic systems can act as sound mirrors in the ocean, to probe currents and allow underwater communication; imitate the directional quality of different instruments; and even tell the difference between an oboe and a saxophone.

Tucker's Acoustical Mirrors: Aircraft Detection Before Radar

In December 1933the BritishAir Ministry approved the construction of an acoustic aircraft early warning system to guard the approaches to London along the Thames Estuary. It was an elaborate scheme, consisting of nine giant sound mirrors and a central plotting room. If successful, this system was to serve as the model for a national defence programme. This decision marked the culmination of 16 years of research at the acoustical section of the Air Defence Experimental Establishment (ADEE), under the leadership of Dr William Sansome Tucker. Yet, in August 1935,before major construction of the system began, work on the project was suspended permanently in favour of a radically new aircraft early warning system-radar.

Sound output system

First Page

From 'Sound Mirror' to 'Touch-Screen'

From 'Sound Mirror' to 'Touch-Screen'

Echoes across the diaphragm.

<h2>Abstract</h2> The echoes appearing above the diaphragm in liver sector scans are attributed to acoustic scattering structures in the liver, the ultrasound being reflected back to the transducer by the air-backed diaphragm, which acts as a sound mirror. The hypothesis is evidenced by observations of pathology in the upper portion of the liver and by investigations <i>in vitro</i>.

Determination of Sound Absorption Coefficients Using a Pulse Technique

A pulse method of determination of sound absorption coefficients using a sound mirror to produce directed sound pulses allows determination of the coefficients by essentially a free field method but within the confines of an ordinary laboratory. Average pulse pressures for brief pulses are obtained over both space and time to allow evaluation of the absorption coefficient as a function of angle of incidence. When averaged over angle of incidence, this function leads to an average absorption coefficient. Average coefficients were obtained for samples of two different materials. These coefficients, for a pulse two cycles long at 2000 cps, are 0.56 and 0.182. Comparable values computed from impedance tube data are 0.57 and 0.186; and values obtained from reverberation chamber measurements are 0.57 and 0.130. In each case the three values for each material lie within the estimates of error assigned. It is concluded that while the pulse method is confined to short pulses having relatively wide frequency spectra, the method is useful both in producing values of sound absorption coefficients as a function of angle of incidence and of average values of these coefficients.

Is Homework in German Necessary for Beginners?

A year ago, the American University set up a simple device for learning languages in the schoolroom. For German, as well as for the various other tongues, tape recorders, Brush Sound Mirrors, were installed. These highly sensitive instruments are connected, by the speaking outlet, with earphones. The phones are in rows of semi-private booths where the students listen. What is most important, they repeat the words and lessons that are audible over the earphones in a half-loud voice. The students can use, therefore, the optimum desideratum in language learning: the aural-oral, and if books are used, also the optic organs. The hearing and speaking organs are exercised with this arrangement, while with home study the ear and mouth are often neglected. The students have, of course, their three classes a week. In preparation for them they take five hours of laboratory a week where they learn by mechanical means.