How is the technologically mediated behavior driven by the low fidelity public soundscape - Essay Example

Music 27 January Public/Private Soundscapes How is the technologically mediated behavior driven by the low fidelity public soundscape? Introduction:        The relationship among soundscape and society is extremely composite and mutually interactive, and every constituent is shaping the other. The study is mainly conducted to identify how the technologically mediated behavior is driven by the low fidelity public soundscape. And also the study gives main attention particularly on urban soundscapes. The idea of a public soundscape for instance, has only turn out to be important over the past few centuries, as sealed and enfolded buildings turned out to be more common. Previous to completely enfolded buildings, sound flowed mainly unrestrained from the private ball to the public, and vice versa which destined that, two persons in close proximity to each other experienced an analogous soundscape, despite of whether they occurred to be in the private or public realm. “R. Murray Schafer, one of the early pioneers of the study of soundscapes indicates that the rise of life spent primarily indoors gave way to two enduring phenomenon: the high art of music, and noise pollution” (Neudorf 3). The events of public soundscapes keep on developing in the current period of mobile phones and moveable music instruments. Nowadays it is possible, certainly general, to build ‘semi- private’ soundscapes (by way of make use of movable device of music and mobile phones) in public spaces, which highly block soundscapes in public. The idea of soundscape which represents a spatial implication no longer appears to fit in this circumstance; ‘sound experience’ may be a more suitable word given to the rising disconnect among site and audio perception.        Second difference can be made among soundscapes in densely inhabited (urban) places and soundscapes in places that are less impacted by the activity of the persons. The density of the sound normally reflects the population compactness of the human being. However, there are numerous exemptions, where in high compactness places, sounds must contend with each other with the intention to be heard. And also at the same time, sounds originate by human beings and their particular activities normally dominate urban soundscapes, as natural sounds hardly ever adjust to a louder soundscapes by raising their volume. Soundscapes, which are not conquered by activity of the human being, may have more moderate and reasonable, but they are distant (far) from unfilled. Even urban soundscapes which may not provide wealthy and rich environmental habitats frequently consist of impressive sounds. Research method used to conduct the study is the primary research method. Primary research method used to acquire most authentic data directly from respondent. It is include survey method, interview method and Questionnaire Survey.        There is a certain kind of risk in adopting the word soundscape which has a clear etymological debt to its progenitor landscape that a variety of suggestions from the visual world will also be adopted into the audio realm. Schafer builds the perceptive examination that unlike landscapes; soundscapes are concerning various activities and actions, not artifacts. In view of the fact that soundscapes are based on these activities, they are intrinsically unique at any of the specified point in time and space. “Schafer suggests that there are two ways to improve the soundscape. The first is to increase sonological competence through an education program that attempts to imbue new generations with an appreciation of environmental sound. This he believes will foster a new approach to design - the second way - that will incorporate an appreciation of sound and thus reduce the wasted energy that noise represents” (Wrightson & Gil par. 24). Differentiation between Private and Public Soundscapes:        A soundscape is a kind of sound or amalgamation of sounds that shapes or occurs from an immersive atmosphere. The study of soundscape is the matter of acoustic environmental science. The thought of soundscape refers equally to the normal acoustic atmosphere, including of natural sounds, consisting of animal talking and, for example, the sounds of weather conditions and other natural constituents; and ecological sounds formed by humans, in the course of composition of music, design of sound, and other normal activities of human being together with conversation, job, and sounds of mechanical source ensuing from use of manufacturing technology. The disturbance of these acoustic atmospheres results in pollution of the noise. Impact of soundscape from public and private sphere is different from each other. “A starting point when creating sustainable sound-art installations is that they are site-specific, which means taking into account the site's existing sounds in relation to its activities. This can be supported through other, previous interventions in situ, for example artistic experiments” (Hellstrom et al.). Soundscapes in public areas are to watch and explain which types of sound take place in different parts of the public (consists of pubs/coffee bar/eating place, music place, cinemas, theatres, teaching place, shopping place, sport place, transportation), which are the characteristics of peak levels, and how soundscapes affect the behavior of human activities in public venues. Portability of Music Device and its Impacts in the Society:        Portable music devices are widely used nowadays and it affects the society in many ways. “Such devices range from the standard mobile phone – which itself is exceeding its role as a communication device – to highly sophisticated multimedia hybrids, personal digital assistants (PDAs), MP3 players, personal media centres and handheld networkable game consoles” (Richardson par. 1). Portable music players are the final gadget that permits the client to listen to music though mobile. There are a variety of music devices which are obtainable in the market, hence, to assist us with the preferred superior choice of products that can outfit our needs in the most excellent possible way. Portable music players, for example Apple’s iPod, have turned out to be omnipresent in many atmospheres, but one atmosphere in particular has elicited latest protection concerns and various challenges in-vehicle use at the time of driving. Though these musical devices provide benefit of leisure and information, use of these instruments more and more may sometimes lead to unsafe circumstances, one particular example of it can be while driving a vehicle. A current study of American drivers [24], polling almost 5,288 licensed drivers from every 50 nations, found that a large number of drivers have used the musical device iPod at the time of driving mainly younger drivers at the age group of 18-24: in this age group, the study informs that 20% of drivers have preferred songs on an iPod while driving. “Such statistics, not to mention the abundance of in-vehicle accessories sold explicitly for connecting iPods to automobile stereo systems, strongly suggest that drivers are interacting with iPods and similar devices while driving” (Salvucci et al. 1). Research Question: 1. How is the technologically mediated behavior driven by the low fidelity public soundscape? Definition of Term: Technologically Mediated Behaviour: Forms of Interpersonal Conduct:   Technologically Mediated Behavior is the method of person does behave through the prism of mobile technologies in current urban societies. Low Fidelity:        Low Fidelity is the sound categorized by high ambient noise, lack of isolated sounds and ‘schizophonia’ or the displacement of sounds (Schafer 2004). The state is normally more high fidelity than the city. Public Soundscape:        Public Soundscape is the composition of sounds that summarizes persons in public places; mainly a space for minimal human contact. It includes the normal acoustic atmosphere, including of natural sounds, consisting of animal talking, for example, the sounds of weather conditions and other natural constituents; and ecological sounds formed by humans, in the course of composition of music, design of sound, and various other normal activities of human being including job. “Recognizing the significance of the aural environments or soundscapes of different societies and the implications the difference have for participation in the public sphere is an important step toward redressing the balance in our understanding of the use of space” (Fortner & Fackler). As Digital formats alter music’s capabilities and immaterialities alternate practices of marketing, making and listening of music. The music industry widely conceives in constant state of re organization. It is responding and trying to bring about new contexts, practices and uses for music. Digital music files raising important legal issues that impact on how consumers experience music in their daily lives. Technologists and Entrepreneurs are trying to predict the future in new business model, hardware and software. In 2010, digital music market seems to stabilizing slowly. Previous staples l redressing the balance in ourke radio, Topwer records (physical music outlet), and music television station s MTV etc. are no longer the economic or cultural forces, they once were at least for selling and promoting business. Instead of this, computer hardware and software producers, ring tone makers, social networks, internet service providers, have taken their interest in music business, each with unique divergent vision for digital music commodity. AS computers are the viable sources of playback sound recordings, music began its migration from older formats to digital file. Digital music is not just music; it is a tool for personnel expression. Advanced technologies like ‘Winamp’ give an interface that bridges past practices with new possibilities of digital music, which helped to sell the idea of music on pc’s. Meta data also added advantages to digital music. Metadata makes it organizable and visible in new way. They added enough novelty and familiarity that encourage shift in music. File sharing services like Napster also played an important role in the growth of music. In fact, Napster built a community through its sharing, circulating and connecting activities. Apple’s digital retail market outlet brought lot forms of presentation and dialogue with new face. Apple helps to combine the act of playing music with shopping. With its integrated and advanced technologies, Apple set out a new vision as how digital music can be entered into a wide range of lifestyle of technology. The term soundscape refers to the all aspects of an environment. Soundscape planning is critical for public spaces especially for urban public spaces. Normally urban spaces may include parks, outdoor monuments, entertainment venues and memorials. In urban settings aircraft over flights and street traffic and other noises negatively affect the functions and even prevent the use of outdoor facilities. Apart from this, sound generated from the other noise sources may adversely affects the site neighbors and visitors. This question is important while planning and designing a public soundscape, “what should be a public space sound like?” The answer of this question depends upon many factors such as size of the site, noise sources, historic and intended use of the facility and budget of the project. An outdoor concert venue needs sound different than a public memorial. Playground needs sound than a meditation; similarly a basketball court should have sound different than an outdoor cafe, i.e. before designing a public space this question is important. Otherwise all the efforts become vain and the consequences will be underutilized site facilities and amenities as well as interruptions while doing outdoor performance, and programmed activities. Quality of the soundscape is also important. One should take into consideration that the soundscape is an essential part of the planning process. In the present scenario the major new urban public space projects includes acoustical evaluation as a part of the planning and design process. In the realm of audio industry communication, technologies of the wireless broadcast and telephone have created enough listening space within public spaces. Developments in mobile audio devices such as personal listening system and cell phone have made the transformations of the sonic commons, punctuating it with private soundscapes. Such self immersion as selective listening easily transformed from public or shared aural forms in to an individualized aural experience. Aural privacy once linked with spatial isolation. Now it strikes people remarkably. The technological forms of sound reproduction can make a dramatic change in the sound in public realm, people are less aware of the underlying changes with related to spatial location. Virtual elimination of provenance recorded and transmitted through radio. Now people are witnessing the emergence of walkman, cell phone and the I-pod. “The rhythm of the music grabs us and we are literally pulled ‘out of this world and the iPod is the technology of art helps this to happen” (Wittkower 173). Entrance of walk man and iPod nullifies the “public space”. The general use of mobile entrainment media is to isolate people from the public crowd, which also extends to the monotony in the Gym tread mill, boring moment of air travel, etc. The first decade of 21st century was a remarkable time with advanced mobile technology. The people ranging from richest community to the poor farmers enjoyed the benefits of these technologies. Even laptops become less expensive and ordinary people can afford it. Portable computing devices become common and accessible in modern culture. But iPod is stood as the most iconic mobile device of the time. It is actually a multi media player helps to play sound, game files. It enables users to enjoy audio visual media content. It is also considering as a training device. iPods have been tapped as training devices since training videos and lectures recordings can be placed in them as well. (Colman). The use of it is extended far from a mere entertainment device. A new concept of personal space is created when people take a mobile and attach it with an earphone. Western cultures have an idea of this personal space, i.e. There is a gap that one maintains between themselves and others for a sense of security. Bull (2007) defines this concept of personal space as a bubble generated by becoming an iPod user. IPod technology is playing an important role to expand this space and helps in redefining how it is made. Like walkman, IPod pulls the person in to a personal space. Users may feel a sense of control in their own space. The time when they put-on earphones and started using I-pod they are into the world of experience of watching movie or listening favorite music, etc. Hence, IPod and walkman are representing a culture of individual space. The negative side of this device is people losing their social networks or relationships and from the collective relationships they are turning to become individual. “People like to control their environment and iPod the perfect way to manage your experience” (Kahney & Pollock 26). Quantitative Study: Methodology is the step by step approach carried out in identifying the research problem by analyzing the various kinds of the problems for the study. The methodology in the study deals with the various technical aspects in the mediated behavior which is driven by the low fidelity public soundscape. The research method used to undergo this study is the quantitative method. The results are evaluated based on quantitative data gathered from the study. This will help in analyzing the result in terms of both these aspects. Quantitative research method “is a research method that relies less on interviews, observations, and small numbers of questionnaires, focus groups, subjective reports and case studies but is much more focused on the collection and analysis of numerical data and statistics. The survey of the literature review was conducted in the study, the various literatures on the technological advancement of the soundwaves were studied much and the analysis was conducted for the indepth understanding of the study. The literature content undertaken for the study is the investigation of the existing literature of the soundscape with the other inbuild concepts in the arena and to analyze the technologically mediated behavior driven by the low fidelity public soundscape. As to have an in-depth idea of the concepts of the soundscape and the technological data, the use of the mixed methodology is very useful and they mainly includes the quantitative study of the data. The study includes the various methods like the survey method of the many academic literatures, which is helpful in creating greater insights about the study and the analysis of the various case studies related to the soundscape assessment and including the face to face interview with the soundscape experts. “The lack of guidance in sound design has proven to be damaging. On the one hand, developers are discouraged from integrating sound in their projects leading to unbalanced interfaces when compared to our experiences in daily life or even with other media. On the other hand and possibly more harmfully, when developers venture into sound integration they have to resort to their best judgment, not necessarily achieving Interesting results. (Frauenberger, 2007)” (Grimshaw 363). The one who is designing the sound must think the project as a full and deliberate how sound will greatest provide in general purpose in agreement with all other feature. For that to be probable, it is critical that sound designers turn out to be concerned in the universal design procedure as rapidly as it commence. If not that happen, the range of potential will be much shortened by whatsoever other choice have been taken. (Parker, 2003; Peck, 2001). The soundscape is the vast area of the subject for the study and, “Soundscapes were found to be a highly multi-disciplinary topic, with many different ideas, concepts, aims and methods evident in the literature. The definition of the term sound scape is itself not settled; for the purposes of this project, we have defined it as “the totality of all sounds within a location with an emphasis on the relationship between individual’s or society’s perception of, understanding of and interaction with the sonic environment” (Payne et al. par. 3). Survey: In the survey of the soundscapes, the various kinds of the physical measures are adopted for the analysis of the study. The physical measures like the sharpness, loudness and the roughness are identified. The measurements are analyzed by the various recordings like the binaural recordings that are used for the study, where the study is conducted when a person walked from distant garden paths and for a fixed period of time, say a 20 minutes. The recordings were recorded or played when the sound systems are switched on and off continuously for certain time period. The slope indication is present and the selection is made available and they represent the variations occurred during the soundscapes like the loudness and the sharpness in the system. The study is conducted here by the use of the acoustical instruments and the solving of the queries with the residents in the area. The measurements and the exposure level of the sound are calculated at the specific time intervals and they are made for the certain time duration and the exposure is made for the continuous time interval. As per the respondents, the main recurrent reason particular for visiting places was for ‘quiet’ (25%). Though, for 40% of the members, silence was the slightest vital park feature from accessible alternative. This diversity emphasizes terminological dissimilarity among silence and quiet and the significance by means of terms used constantly in a study to permit comparison. For instance, quiet may be a more important park feature than silence and other park feature. In general, value of the park was often found higher however than the general value of the soundscape. It is evident from these that the holistic approach is vital and the need of the acoustical measures does not provide the true assessment descriptions of the study. The Quantitative Analysis is conducted from the secondary sources and they have to be made from different secondary sources like the articles and the review of literature. The literature review determines the validity of the assumption and chooses the decision from the parameter to assume certain properties that come from the parameters like the discussion and the analysis that is involved. As the soundscape study is concerned, from a combination of analysis, quantitative and qualitative, a determination of results come out on the elements that are significant to people’s report and evaluation of soundscapes, in particular the expressive retort to sound. The mutual results also emphasize the potential that can be attained from interdisciplinary study. “The definition of a Sound Object as a relevant element of the music creation process goes back to the early 1960’s [24]. According to Schaeffer’s, a Sound Object is defined as “any sound phenomenon or event perceived as a coherent whole regardless of its source or meaning” (Barbosa & Kaltenbrunner). According to Alvaro Barbosa, Martin Kaltenbrunner, the early research with musical processor networks at a confined area level date reverse to the past 70’s in California with presentation by the association of mechanical Music Composers .conversely with the enormous and extensive world growth and rise of Internet society, described by customers strongly stimulated by music in several diverse ways, more attractive potential for musician and performers arouse in late 1990. (Alvaro Barbosa, Martin Kaltenbrunner2001) Resonance and Entrainment: One goal intrinsic to game design is to permit for appealing experiences. Thus, it is essential to replicate on reason that may guide to a player not becoming occupied with a considered setting. Perhaps it is essential to identify that; finally such requirement of engagement may be clarified by the player’s own will and not by flaw in the design process. This is not a reason, however, for disregarding the significance of sound design reflection. In several situations, the difference from the forecast behavior obtained from the information that there is not harmonizing among the player’s state and various preferred state in any exacting moment. “From physics, we borrow two related concepts that allow us to describe and to formalize a model to actuate design with the purpose of addressing this circumstance. These concepts are resonance and entrainment (Augoyard & Torgue, 2005; Sonnenschein, 2001), both physical phenomena having repercussions on the psychology and physiology of perception, cognition, and emotion (Leeds, 2001; Sonnenschein, 2001)” (Grimshaw). Sound Walking: It is an experiential method for recognizing a soundscape and mechanism of a soundscape in different locations. In various Soundscapes Projects (Davies et al, 2007), they have used and modified this idea of sound walking into practical methodology for recognizing and considering personal skill and perception of the sound urban environment. “Sound walking is a creative and research practice that involves listening and sometimes recording while moving through a place at a walking pace. It is concerned with the relationship between soundwalkers and their surrounding sonic environment” (McCartney par. 1). Our sound walk is a walk about an urban area where the senses are aimed at the sounds that are perceived rather than the more usual sights that are viewed. We center on daily practices, as people move about and within the city surroundings with a vision to considerate their specialized and/or personal imitation of the relations among the soundscape and the build transportation. “The concept of soundscape, proposed by R.M. Schafer [3], enables us to describe acoustic ambience in an overall way, the chief difficulty on the evaluation and the analysis of the urban soundscape lies in the multiplicity of sources to be characterized and in the appreciation of their predominance, more especially, the nature of the urban fabric, the morphology of the public spaces and the texture of facade materials, etc” (Venot & Semidor 1). Conclusion: The study and investigation of the data obtained from the diverse cities, can be work as a means of corroboration for the methodology .If too many variations were essential for it to be equipped in every circumstances; we would realize that it is not suitable. However, if it seems sufficient for these four, very dissimilar cities, it shows that this methodology could be validated as it has a wide adequate reach. It is understood how effective the study in the understanding of the variations in music is. Work Cited Barbosa, Alvaro & Kaltenbrunner, Martin. Public Sound Objects: A Shared Musical Space on the Web. Musical Technology Group. Pompeu Fabra University. n.d. Web. 27 Jan. 2012. Colman. iPod and Culture. Web. 25 Jan. 2012. Fortner, Robert S. & Fackler, P. Mark. The Handbook of Global Communication and Media Ethics. Vol. 1. Wiley-Blackwell Publishing Limited. Web. 25 Jan. 2012. Grimshaw, Mark. Game Sound Technology and Player Interaction: Concepts and Developments. Information Science Reference. University of Bolton, UK. Web. 25 Jan. 2012. Hellstrom et al. Modelling the Shopping Soundscape. Journal of Sonic Studies. Web. 25 Jan. 2012. < http://journal.sonicstudies.org/vol01/nr01/a04> Kahney, Leander & Pollock, William. The Cult of iPod. No Starch Press, Inc. Web. 25 Jan. 2012. McCartney, Andra. Soundwalking: Creating Moving Environmental Sound Narratives. Soundwalking Interactions. Wordpress.com. Web. 25 Jan. 2012. Neudorf, Jason. The Sound of the City: Acoustic Explorations in the City of Vienna. Institute for Music Sociology. Web. 25 Jan. 2012. Payne et al. Research into the Practical and Policy Applications of Soundscape Concepts and Techniques in Urban Areas (NANR 200). Queen’s Printer and Controller of HMSO. 2007. Web. 25 Jan. 2012. < http://webcache.googleusercontent.com/search?q=cache:y7Ez2Jlsp68J:randd.defra.gov.uk/Document.aspx%3FDocument%3DNO0217_8424_FRP.pdf+methodology+of+how+technologically+mediated+behaviour+driven+by+the+low+fidelity+public+soundscape%3F&cd=2&hl=en&ct=clnk&gl=in> Quantitative Method. Karyn Easton and Paranormality.com. 2001. Web. 25 Jan. 2012. Richardson, Ingrid. Mobile Technosoma: Some Phenomenological Reflections on Itinerant Media Devices. Fibreculture Journal. 2005. Web. 25 Jan. 2012. Survey Design. Creative Research Systems. 2007. Web. 25 Jan. 2012. Salvucci et al. iPod Distraction: Effects of Portable Music – Player Use on Driver Performance. Department of Computer Science. Drexel University. n.d. Web. 25 Jan. 2012. < https://www.cs.drexel.edu/~salvucci/publications/Salvucci-CHI07.pdf> Venot, Flora & Semidor, Catherine. The “Soundwalk” as an Operational Component for Urban Design. PLEA2006 – The 23rd Conference on Passive and Low Energy/Architecture, Geneva, Switzerland. Web. 25 Jan. 2012. Wittkower, D. E. iPod and Philosophy: iCon of an ePoch. Carus Publishing Limited. 2008. Web. 25 Jan. 2012. Wrightson, Kendall. & Gil, Juan. An Introduction to Acoustic Ecology. Escoitar. 2006. Web. 25 Jan. 2012. Read More