Sentences with phrase «of acoustic space»

In his artistic practice, Gupfinger explores the perception and the manipulation of acoustic space.

Lea Bertucci is a sound artist and composer whose work bridges performance, installation and multichannel activations of acoustic space.

«We were surprised to find that the effects on participants» perception of acoustic space were almost as strong for imagined stimuli as they were for real visual stimuli,» says Berger.

Not exact matches

If you have large, segmented departments, provide them with their own «touchdown» spaces such as acoustic seating areas or carrels that can accommodate groups of three to five people.

You can take a cue from the search engine giant and use a large sofa, or try smaller «hobbit hole» spaces such as enclaves with padded benches, acoustic couches, a long communal table for lunch or telecommuters, the modern version of old - school desk attachments to rolling chairs, and general seating that helps employees feel comfier.

But even as most of us have experienced the horrors of weird acoustics in all sorts of places, when it comes time to design a space for a company, many bosses ignore the issue.

at The MERC Once part of the historic 1891 Mercantile Building, The MERC is a club - style performance space with tall nineteenth - century brick walls that make for excellent acoustics.

The physicists used acoustic waves that had the effect of altering time for the photons — the equivalent of putting Alice and Bob in those opposite - moving space shuttles.

Japanese engineers have developed a new system of acoustic levitation, using sound waves from four audio speakers to suspend solid objects in three dimensional space.

In the first large - scale attempt to track fish with an acoustic tracking array on the sea floor, David Welch, of Fisheries and Oceans Canada in Nanaimo, British Columbia, and his colleagues deployed a line of receivers on the sea floor, spaced roughly 1 km apart, off the coast of Vancouver Island.

In contrast, acoustic resonators can enable qubits to interact with vibrations of a few different, closely spaced frequencies.

Sound waves can precisely position groups of cells for study without the danger of changing or damaging the cells, according to a team of Penn State researchers who are using surface acoustic waves to manipulate cell spacing and contact.

Hassan has been awarded a 2017 Newman Student Award Medal, for his work on «Computer modeling of the sound diffusion and scattering coefficients and their influence on the diffusivity and acoustic quality of architectural spaces», as nominated by Prof. Martin Gold.

The acoustics in the space, along with the sound of the waves crashing on the shore below, is an ideal environment for experiencing the profound vibrations of the didgeridoo.

The school building needs to function, eliminating challenges such as cramped spaces, lack of natural light, and bad acoustics.

Acoustic requirements dictated the volume of the recital hall and the design sought to minimise the impact on the listed landscape and maintain views to the cathedral by using the sectional device of partially burying the performance space and employing a set - back clerestory at roof level.

The design team integrated a variety of technology options into the building including interactive smart boards in every classroom, a common distance learning classroom, and student breakout spaces for each age - based learning community, high - performance day lighting, and acoustics in every classroom.

Cabriolets feature a power - folding acoustic soft top that can be operated at speeds of up to 31 mph; it also has enough thermal insulation for winter use, and special attention has been paid to trunk space.

Audi claims class - leading aerodynamics (0.30 Cd) and interior acoustics, and cargo space grows by 10 litres to between 550 and 610 depending on the model, with a total of 1550 litres.

As part of their toolkit, ToyTalk has created a method for writing character dialogue that contains a considerable library of possible responses to the types of things kids might say or answers to the questions they may ask — and they plan to share this technology with children's story writers (instead of just app developers) Jacobs is excited by the work they are doing, explaining that «speech recognition for kids has really not been built by anybody, so part of what we're doing — what are partners are developing — is developing the language and acoustic models for children to open up that space.»

In acoustical engineering, «tuning the room» is a technique for measuring the specific sound properties of an enclosed space and then adapting the environment to improve its acoustic reflections.

In this day and age when engineers can pinpoint the acoustics of museum spaces with remarkable accuracy, there is no excuse for this kind of leakage.

The second presentation of Feelings Are Rooms features a continued investigation of the unique architectural acoustics of ISSUE's theater space.

Celebrated for its unique and inimitable acoustics, the Black Ark was an improvised setting and space of experimentation.

The work is tuned in situ, with Richards reacting to the acoustic contingencies of the space, creating a cinematic and multi-sensory experience — an arrangement of vivid emotional cues to be navigated subjectively.

Richards» exhibition presents a suite of works including Migratory Motor Complex (2017), a six - channel electro - acoustic installation that explores the capacity of sound to render artificial spaces and locate sonic and melodic events within them.

Biswas creates a futuristic sensorial drift through the gallery, casting the listener as a post-human participant cognitively fused to the audio, while the Tate Boat segment is a mix of songs, monologues and interviews fading in and out against an assortment of oceanic soundscapes: a blend of anecdotes and simulated acoustic spaces, pitched somewhere between experimental radio documentary (eg Glenn Gould's The Idea of North) and radio play (eg Radio 4's production of The Hitchhiker's Guide to the Galaxy).

Using the gallery's condition of high visibility, Spooner considers the characteristics of corporate and museum architectures by amplifying and exaggerating certain qualities in the space through the use of soft acoustic panels, daylight bulbs, and background noise.

JA The choreography was built from the specifications of the gallery: four spaces, each of differing sizes, each with its own unique acoustic condition.

With new climate - controlled galleries plus a multi-purpose auditorium space with state - of - the - art audio - visual gear and acoustics, SITE will be able to show a more complex and ambitious range of contemporary works and programs, while retaining what Hofmann calls its «artist - centric vision of ambitious flexibility.»

Each week new artists were invited to play this system, creating sound and movements within the acoustic architecture.1 Gordon added their contributions to the library of her constantly evolving installation, while also leaving enough space to allow the audience's whispers, cell phone taps, and footsteps to manifest as essential components of the overall composition.

While Quindar's sound varies, moving from spaced - out synthy jams to acoustic strumming, futuristic house beats to humorous lilting tones, a constant is the feeling of what it might be like to gaze out the space station window looking down at the earth hundreds of miles below — though it's only during Quindar's live performances that this feeling can come to full fruition, when projections of archival video and images, created by Jeremy Roth, play on stage.

An adaptable groundfloor space of 500 metres square, with 4 metre high walls, has an innovative grid system built into the ceiling and floor, paired with floating acoustic rafts and a flexible lighting system.

The space was populated with her paintings composed of acoustic dampening panels, works on paper, and her iconic Acoustic Painting series, as well as site specific installations, and sounacoustic dampening panels, works on paper, and her iconic Acoustic Painting series, as well as site specific installations, and sounAcoustic Painting series, as well as site specific installations, and sound works.

Bunker integrates various strands running through Yi Gu's life into a sculptural form that also serves as a vessel for sonic reconfiguration - via acoustic sampling and computer modeling - of sounds made by the viewer into different aural dimensions, immaterial spaces and landscapes connected to Yi Gu's biography.

Rooms in which an arrangement of modular partitions could create acoustic spaces of any shape and size.

The performance is centred on two large - scale instruments realised in the space and developed from acoustic surveys of the building.

She frequently makes use of familiar tunes and pop songs, performed in her own voice and recorded, in order to create an acoustic environment that relates to the particular location in an exhibition space or an urban setting.

Utilizing the acoustics of the space, a series of readings will take place in the epicenter of the exhibition, before an organized procession to the Smart Museum of Art as part of Smith's inclusion in Revolution Every Day.

It includes Music for the gift (2017), a six - channel electro - acoustic installation that explores the capacity of sound to render artificial spaces and locate sonic and melodic events within them.

As visitors enter the installation, they too are implicated in this relationship, either with their own sounds that are then absorbed into the loop, or simply by shifting the acoustic properties of the space with their presence.

/ performances 2017 Audible Edge Festival, Tone List and Tura New Music, Perth 2016 Everyday Machines, curated by Tom Smith, Alaska Projects, Sydney 2016 NOW now series, 107 Projects, Sydney 2016 Pretty Gritty series, 107 Projects, Sydney 2016 Electrofringe: New Terrains, Top Floor at Wellington, Sydney 2014 perspectives [temporal], solo audio - visual concert, Perth Institute of Contemporary Arts 2014 Club Zho 111, The Bakery, Perth 2014 NOW now Festival of Arts, Sydney (as Té with Andrew Brooks) 2012 - 14 multiplicity - large - scale, dual - screen audio - visual work presented at: Perth Cultural Centre Screen Program, 2014; Test Tone, SuperDeluxe, Tokyo, Japan, 2013; Channels Video Art Festival, Melbourne, 2013; fractal shale, Perth Institute of Contemporary Arts Performance Space, 2012; NOW now festival program launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012 2014 Cinematic Scores, live soundtrack to Laszlo Moholy - Nagy's Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth 2013 International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks) 2012 - 13 consciousness - large - scale audio - visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012 2013 Japan tour, solo audio - visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo 2011 Improvised performance with Philip Zoubek and Andrew Brooks, The Loft, Cologne, Germany 2011 split mirror planes - for four instruments and four audio / visual sources, commissioned by Decibel new music ensemble — premiered at Perth Institute of Contemporary Arts 2010 Japan tour, solo performances, Osaka, Kyoto, Tokyo 2010 lucidity - major composition for electroacoustic ensemble: acoustic instruments, computer processing, sound synthesis and video projections performed at The Bakery, Perth

Gordon's practice employs sound diffused into the exhibition space through elaborate multichannel speaker systems, which the artist then manipulates through precise placement of sculptures composed of various acoustic materials.

What can be heard is a function of the unique configuration of the amplification technology and the specific acoustics of the space.

The sound, object, and spatial acoustic - works of this creative artist, while they begin as seminal ideas, continue over time to open up for the viewer a completely new sensory relationship between sound and space.

It is a temporary music venue to «create a space for non-amplified, acoustic neighborhood performances» and «demonstrate through creative reuse of materials that a beautiful structure can be built from material that would otherwise have been thrown

Their project B * Wall uses a refurbished bicycle to operate a folding acoustic partition made out of recycled carpets and cardboard, dividing a multipurpose space in Turin.

Available with a choice of white and space gray 3D mesh acoustic fabrics to cover the device, Apple is also positioning the HomePod as an audio entertainment accessory, with a focus on high quality music playback, and on using Siri to help find new tracks on Apple Music.

Acer TrueHarmony 3D Soundscape technology recreates the acoustic space based on the orientation of the player's head, convincing the brain that sound is coming from a fixed direction.

Those after great sound in their space will also appreciate the inclusion of the company's Multi-Channel Acoustic Calibration System (MCACC) room tuning software.