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!! 2012-05 \|hlt [../files/img/201205_AIS2.jpg\|../files/img/201205_AIS2_l.jpg\|AI & Society]\|hl ► '''What NMSAT says about sonification''' {br}{br}'''In Sonification (what, where, how, why)'''{br}{br}'''Special issue (Locus Sonus, Peter Sinclair, guest editor)'''{br}{br}'''''Actes du Symposium #6 (2010). Publication en collaboration avec le LAMES et le CRiSAP (Univ. of the Arts London) dans la revue AI&Society (Springer) n° 27.2, en 2012.''''' {br} '''AI & Society Special issue (Springer), nr. 27:2, May 2012. Proceedings of the Locus Sonus Symposium #6 (2010). In collaboration with LAMES (Sociology lab), and CRiSAP Univ. of the Arts London.''' {br}{br}http://www.springerlink.com/content/0951-5666/27/2/ {br} http://locusonus.org/w/?page=Pub {br}Download the paper : http://locusonus.org/publi/2010_JOY_NMSAT_Sonification_AI&S_final_eng.pdf.zip {br} Download an unabridged version : http://locusonus.org/publi/2010_JOY_NMSAT_Sonification_AI&S_eng.pdf.zip{br}---- {br}{br}\| \|2 '__Issue abstract__' :{br} Artistic practice relating sonification to environments - Over recent years the use of data sonification has become increasingly widespread. There is a new or perhaps renewed consciousness of the particularities of aural perception, and we are learning to consider clicks, beeps, varying pitches or chords as carriers of significant information. Although much of this evolution is taking place in the technical realm, as a way of enhancing a user’s perception of important data, notably when their other senses are occupied (doctors during surgery for instance), interest in data sonification is also increasingly apparent in the realms of art and music. Artists are using sonification to introduce "real world", "real time" elements into their work, and composers are abandoning human decision making and fixed scores to leave space for variations derived from incoming data.{br}{br}'__Paper abstract__' : (What NMSAT says about sonification){br}NMSAT “Networked Music & SoundArt Timeline” is simultaneously a historical documentary database and a monitor of the evolution of networked music and sound art. Jerome Joy initiated the project in 2008 as part of Locus Sonus’ research program. The aim is to provide an overview of practices and techniques in the realm of networked music and sonic performance, from ancient history to the present day, through a collection of references to theoretical and critical texts, thereby offering a valuable resource available to artists and researchers. A future version of NMSAT will be publicly accessible online, open to contributions and collectively moderated by an international college of more than sixty artists and researchers. It will also become an editorial platform for analytical studies and other projects related to sound transmission and distance listening.{br}This article presents a sample of references issuing directly from the existing NMSAT database. The method employed – that of systematically probing the database - reveals forms of soniﬁcation but also hypothetical premises of soniﬁcation, covering the period from ancient times to the beginning of the twentieth century. The following are some of the categories of soniﬁcation that have emerged as a result of this search: Natural phenomenon & meteorology to sound (autophones); Image to sound; Text & communication to sound; Human & machine activities to sound (auditing); Localisation to sound (sonar); Architecture & geometry & abstract proportions to sound (scalization, transcription, & spatialization); Energy to sound; Human body to sound; Distance to sound (distance listening); Movement to sound (holophony, kynophony); Interpreted observations to sound (naturalist music, transpositions & analogies, paraphrasing). The search also uncovered other principals and practices in the vicinity of soniﬁcation including: audiﬁcation, auditing, auscultation, auralization, soniculation, transduction, mapping, earcons, auditory icons, sympathy, echometry, etc. It has been decided to summarise the results of « What NMSAT Has To Say About Soniﬁcation » in this special issue of AI&Society, access to the unabridged version of article is available here : http://locusonus.org/publi/2010_JOY_NMSAT_Sonification_AI&S_eng.pdf.zip .{br} '__Keywords__' : soniﬁcation history, distance listening, networks, audio art, networked music, timeline, database\| {br}---- \|tl {small}''''__CONTENTS__''''{br}{br}'''Peter Sinclair''':  Sonification: what where how why artistic practice relating sonification to environments. 173-175{br}{br}'''Stephen Barrass''': The aesthetic turn in sonification towards a social and cultural medium. 177-181{br}{br}'''Jean Cristofol''':  Elephant fish and GPS. 183-187{br}{br}'''John Eacott''':  Flood Tide: sonification as musical performance - an audience perspective. 189-195{br}{br}'''Peter Gena''':  Apropos sonification: a broad view of data as music and sound. 197-205{br}{br}'''Scot Gresham-Lancaster''':  Relationships of sonification to music and sound art. 207-212{br}{br}'''Florian Grond, Thomas Hermann''':  Aesthetic strategies in sonification. 213-222{br}{br}'''Stuart Jones''':  Now? Towards a phenomenology of real time sonification. 223-231{br}{br}'''Jerome Joy''':  What NMSAT says about sonification. 233-244{br}{br}'''Richard Kronland-Martinet, Sølvi Ystad, Mitsuko Aramaki''':  High-level control of sound synthesis for sonification processes. 245-255{br}{br}'''Andrea Polli''':  Soundscape, sonification, and sound activism. 257-268{br}{br}'''Peter Sinclair''':  Living with alarms: the audio environment in an intensive care unit. 269-276{br}{br}'''Lorella Abenavoli''':  The Pulse of the Earth and sonification. 277-279{/small}\|tl {small}{br}{br}{br}{br}'''Stephen Barrass''':  Sonifications for concert and live performance. 281-283{br}{br}'''Jens Brand''':  GP - We play the world - What do you play? 285-286{br}{br}'''John Eacott''':  Instant music? Just add water. 287-288{br}{br}'''Scot Gresham-Lancaster''':  Waveguide synthesis for sonification of distributed sensor arrays. 289-292{br}{br}'''Florian Grond''':  Safety Certificate: an audification performance of high-speed trains. 293-295{br}{br}'''Stuart Jones''':  Sonification: the element of surprise. 297-298{br}{br}'''Andrea Polli''':  Atmospherics/Weather Works. 299-301{br}{br}'''Marty Quinn''':  "Walk on the Sun": an interactive image sonification exhibit. 303-305{br}{br}'''Richard Kronland-Martinet, Thierry Voinier, David Calvet, Claude Vallée''':  Cosmic ray sonification: the COSMOPHONE. 307-309{br}{br}'''Peter Sinclair''':  RoadMusic. 311-313{br}{br}'''Atau Tanaka''':  The sound of photographic image. 315-318{br}{br}'''Victoria Vesna''':  Vibration matters: collective blue morph effect. 319-323{br}{br}'''Valentina Vuksic''':  Tripping through runtime - Computer concrète. 325-327{/small}\| {br}---- {br}{br} {br}{br}{br}{br}{br}{br} ----
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