Noise: an invisible threat that harms wildlife, degrades habitats
So in response to the noise, birds either left the phantom road areas, or they stayed, but at the cost of their health, they add.
“I believe traffic noise is a big threat because it is invisible, hard to measure, and easy for humans to ignore, unlike other more obvious forms of pollution,” Ware said.
Human-made noise has penetrated most forests and oceans today. Only a few areas remain that are truly silent.
“There are still parts of the deep Amazon, Congo Basin, New Guinea, and Siberia where one wouldn’t hear much but an occasional airplane overhead,” Laurance said. “But those places are shrinking very rapidly. An indication of this is the growing number of parks and protected areas that are being polluted by human-caused sounds — everything from nearby traffic to the sounds of tourists and hikers.”
The Wild Sanctuary Audio Archive represents a vast and important collection of whole-habitat field recordings and precise metadata dating from the late 1960s. This unique bioacoustic resource contains marine and terrestrial soundscapes representing the voices of living organisms from larvae to large mammals and the numerous tropical, temperate and Arctic biomes from which they come. The catalog currently contains over 4,500 hours of wild soundscapes and in excess of 15,000 identified life forms.
Fully half of the natural soundscapes in this rare set are from habitats that no longer exist, are radically altered because of human endeavor, or have gone altogether silent.
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Sound Interpretation : Cities | HAZE Netlabel
Sound Interpretation: Cities
PAS – Parcours Audio Sensible, avec Geneviève Girod
Un tour du lac d’Emprunt au Grand Parc de Miribel Jonage
C’est Geneviève Girod, conseillère en management environnemental qui, outre le choix du lieu, guidera la marche.
Dix sept heures, fin août, la température est très douce, chaude même, le soleil luit tout ce qu’il peut, nous nous mettons en marche pour un tour de lac d’Emprunt.
L’endroit présente un entre-deux composé de sauvage et d’aménagé, comme un site naturel mais où la proximité urbaine se fait nettement sentir, ne serait-de qu’à l’oreille...
TENTATIVE D’ÉPUISEMENT D’UN POINT D’OUÏE LYONNAIS FAÇON PÉREC
Hier, mardi 18 août, aux alentours de 21H, assis sur les marche du Théâtre Nouvelle Génération, rue de Bourgogne à Lyon, 9e arrondissement.
Une légère pluie vient tout juste de cesser, l’air est agréable, presque frais. La nuit est maintenant tombée.
Lorsque le magnétophone connait ses limites, les mots s’y substituent…
Devant moi, une intersection avec des feux tricolores, des voitures de tous genres passent, s’arrêtent, passent, s’arrêtent, passent, s’arrêtent… Voitures, camions, motos, à chacun sa façon de vrombir…
Un bar ouvert, le patron rentre tables et chaises en causant fort avec des clients à l’intérieur.
Une jeune femme passe tout près, d’un pas pressé. Ses tongues claquent sur l’asphalte mouillé.
Collectif Ogino Knauss (Ogino Knaus est une contraception par abstinence sexuelle durant la période de fécondité)
"Le collectif ogino:knauss a démarré ses activités au milieu des années 1990, sur la scène alternative florentine. La démarche d’ogino:knauss se caractérise par un attrait pour l’architecture et la vidéo. Tout comme les situationnistes, ils partent à la dérive pour explorer les facettes modernistes de nos cités, ces lieux où l’être humain se débrouille avec l’environnement qui lui est imposé. Leur attrait pour des endroits marginalisés et périphériques les a mené à filmer à La Havane, Moscou, Detroit, Berlin, Belgrade, Mexico...
De ces récits de voyage, ils distillent des vidéos, des photos et des performances.
Ogino Knauss is a collective active since 1995. Born as mutant cinema laboratory, acts during the years as a constant drift through audio visual languages and communication practices. The group experiments with VJing techniques as a peculiar form of open narrative, in contrast to the dominant tendency to create video
tapestries as an ornament to musician and DJ s production. Developing its action
at the crossing point between the exploration of etherotopic spaces and the exhibition of disclosing practices of the audiovisual device, Ogino knauss led a steady exploration of new spatial and creative contexts to confront, such as cultural centers, public spaces, temporary occupied zones, art galleries, festivals,dancefloors. Among many others ogi:no knauss collaborated or played live sessions with:
Autechre, Autobam, Vladislav Delay, DJ Ultracore, Masami Akita & Zbigniew Karkowski, Otolab, OTK, Rich Medina, Terre Thaemlitz.
In more recent projects, the attention has been focused on the globalizing urban landscape, applying image production techniques in the attempt to develop innovative listening and description practices about cultural urban processes. Urban explorations leading to performative acts or installations have place in such locations as Florence, Riccione, Berlin, New York, Rome,
Milan, Amsterdam, Thessaloniki, La Habana. The anthological project, Triplicity, focusing on the co-related production of space and image in the evolving global landscape, has been presented
world wide as live performance or installation and has been published as an interactive DVD + book by AVrec.
Tout le site est sous Flash, je ne sais comment exporter photos et vidéos ou meme si c’est possible.Cinéma expérimental, musique expérimentale, c’est riche et vraiment intéressant.
Parallélement le collectif a aussi ouvert blog plus institutionnel dans ses propositions et centré sur un projet unique.
Normalisation of Deviance | Future State
Normalisation of Deviance is the title of an visual and aural art installation by artist Mark Curran. Part of the basis for the installation is an algorithm, designed by Ken Curran, to identify how often the Irish Minister of Finance, Michael Noonan, used the words ’market‘ or ’markets‘ in public speeches since taking office in March 2011. The algorithm’s output is manipulated into multiple forms: visual and aural; manifesting as soundscapes accompanying spectrographs. The artist describes the installation as “attempting to represent the defining and ceaseless sound of the global markets through a pivotal conduit of capital, the nation-state“.
Could sound design help captive rhino breeding?
Researchers in Texas are investigating whether the hum and rumble of urban life is one of the factors that hinders the captive breeding of rhinoceroses.
Other research has considered the influence of diet and physical surroundings, but scientists speaking at a conference said they believed the animals’ #soundscape might be crucial.
Rhinos have extremely good ears, picking up “infrasound” far deeper than the range of human hearing.
[...] #Rhinos, she explained, can hear down to a frequency of four hertz, whereas even a human baby, with entirely undamaged ears, can normally only pick up sounds as low as 20 hertz. Giraffes and elephants can also hear in this infrasound range.
[...] “The soundscape is something that #zoos need to consider and it’s something that can be improved,” Ms Wiseman told the BBC.
She said that although zoos and other institutions had made a lot of effort to make their animals as comfortable as possible, “nobody’s really looked at the noise factor”.
What does WWS do?
WWS is recording the endangered or disappearing sounds of #industrial society – including sounds people try/tried to protect themselves from. During 1st September 2013 and 31st September 2015 we will record at least 600 sounds in their original settings. Every sound will also be documented: What and where is it? And how did we record it?
WWS will be creating a #soundscape of industrial Europe.
et c’est sous licence CC Attribution 4.0
#Stonehenge bluestones had acoustic properties, study shows
Since the 1920s, it has been known stones quarried in Mynydd Preseli were hauled 199 miles (320 km) to Wiltshire by its makers. But, trying to establish why has been more difficult.
With this study, thousands of stones along the Carn Menyn ridge were tested and a high proportion of them were found to “ring” when they were struck.
"And there’s lots of different tones, you could play a tune.
“In fact, we have had percussionists who have played proper percussion pieces off the rocks.”
“We don’t know of course that they moved them because they rang but ringing rocks are a prominent part of many cultures,” he said.
"You can almost see them as a pre-historic glockenspiel, if you like and you could knock them and hear these tunes.
“And #soundscapes of pre-history are something we’re really just beginning to explore.”
La #soundscape_ecology, ou étudier un écosystème par le son.
Eavesdropping on Ecosystems
Sueur and his colleagues weren’t interested in exactly which species were calling. Instead, he says they wanted “to take a global measure of the acoustic output of the community.” Their goal was an algorithm that could boil hours of acoustic data down to a single number describing how an ecosystem’s acoustic energy is distributed across the frequency spectrum and over time.
The boom in sound-recording studies poses a challenge familiar in other fields: a glut of data. Pijanowsky’s lab alone has amassed about 85 terabytes of sound—more than 100,000 hours—in just 5 years. “This is a science that’s plagued by the big data challenges that you see in, say, genetics,” he says. Many researchers already have libraries of field recordings that, if played in real time, would be longer than their careers. “We know that we’re not going to be able to listen to it all,” says computer scientist Michael Towsey of the Queensland University of Technology in Brisbane, Australia.
To get around that problem, he’s developing ways to navigate soundscapes by sight, creating color-coded spectrograms that trained eyes can interpret at a glance. Towsey describes the visualizations as “#acoustic_weather” charts. Some show how the spectrum of sounds shifts over a single day, while others assemble daily records into long-term snapshots to capture changes between seasons or years. That’s akin to studying the “#acoustic_climate,” he notes. And “when we start thinking about the acoustic climate, then we can start thinking about acoustic climate change.” Year-to-year comparisons could eventually highlight subtle and potentially problematic changes, he predicts, such as changing rain patterns or shifts in bird activity.
Computer scientist Michael Towsey combines 8 months of continuous recordings at a research station in Brisbane, Australia, into a single image. Colors indicate different acoustic indices. At dawn (left curve), a morning bird chorus (blue) is obvious during the Australian spring and early summer (October through December), but fades later in the year. Horizontal green streaks indicate heavy rainfall in January and February. At dusk (right curve), cicada activity is evident in the spring and summer months (green); by winter, the night is increasingly silent.