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beam
(beam direction). This alignment
(thick black lines) corresponds to a con-
structive interference: All the individual
wave fronts add up to create a stronger
wave front. For other directions, the wave
fronts are not aligned and interfere with
one another: The sound radiation has
a lower sound level. Figure 2 shows an
emission of three consecutive impulses
by a single source (a) and by an array (b).
Note that while the sound amplitude is
Fig. 2. (a) Snapshot in time of the theoretical sound eld (three consecutive impulses)
produced by a single loudspeaker. (b) Snapshot of the sound eld produced (three
consecutive impulses) by a beamformer (
beam
= 105). Radiation is directive: There is
an intensication of sound in a given direction (marked by white dashed elliptical line),
the illumination zone. ( Philippe-Aubert Gauthier)
Fig. 3. Schematic representation of a
cascaded-delay chain for beamforming.
( Philippe-Aubert Gauthier)
430 Gauthier and Pasquier, Auditory Tactics
lic presentation of Auditory Tactics sup-
ported our conceptual interest. It was an
archetypal public space that allowed us to
implement our artistic intentions. How-
ever, this type of public space also came
with factors that constrained the logistics
of the project, including security, admin-
istration, planning and scheduling.
Spatial Sound Effects
We were initially interested in investigat-
ing two particular spatial effects (Fig. 6).
The rst effect uses BF to remotely create
private sonic arenas in a heterogeneous
sonic space to challenge the default audi-
tory tactics of people immersed in various
sound beams. Two beams scanned the
space (from -90 to +90) while two beams
were xed to angles close to 0 and 180.
People within these illumination zones
(Fig. 6a) received a sonic content about
16 times louder than people in shadow
zones. This effect was used to materialize
the idea of superimposing the private au-
ditory sphere on the public one. People
in viewing distance of each other had pri-
vate, personal access to different audio
contents and loudness balances.
The second effect exploited the re-
exivity of the beams. The array was
placed in an alcove above eye level, and
six sound beams were projected against
ing students, faculty and staff as well as
the general public coming and going
from the building basement, which
hosts a subway station, a gym and small
stores. The Article Frontispiece and
Fig. 4 show the loudspeaker array at
Concordia.
The selection of this site for the pub-
composition [17] that would stimulate
listening over the entire exhibition time.
We had explored generative sound com-
position in previous works [18]. Genera-
tive composition operates at the macro
level of the composition, allowing design
of large-scale composition structures
without dealing with every detail.
We created a macro-scale structure
based on a 24-hour cycle. Six time peri-
ods were created; each relied on differ-
ent sample banks and involved a different
implementation of sampler control and
adaptive mixing.
Night-time sounds were a combination
of soft breaths and intimate, soft sounds.
Morning sounds were a continuation of
the night sounds, with murmurs, laugh-
ter and more active sounds. It was an in-
timate, proximate and gentle awakening.
At noon, these soft and natural sounds
were replaced by vocoder and synthetic
voices (whispers, sometimes with am-
plied drones) reading a plethora of
text excerpts. Shrill voices and groans
invaded the afternoon, with a hint of
uncertainty, stress and revolt. Following
this progression, the evening was char-
acterized by more intense and impulsive
vocal sounds and marked screams, with
synthetically altered voices. The evening
reconnected to the nocturnal over a long
progressive transition from excitement
to blackouta deep sleep.
Public Space
The EV Building is located on St-Cath-
erine Street, one of the busiest axes of
downtown Montral. The hall is occu-
pied and traversed by arts and engineer-
Fig. 4. Installation at Concordia University. Faculty of Fine Arts (FOFA), Concordia Uni-
versity. ( Philippe-Aubert Gauthier. FOFA Gallery Vitrines: Jessica Auer and Andreas
Rutkauskas, photography.)
Fig. 5. Fabrication. The nal array in Vidographes PARC. ( Philippe-Aubert Gauthier)
Gauthier and Pasquier, Auditory Tactics 431
whisper the projected sound, thus pro-
viding a strong impression of intimate
listening. The sound localization was
completely dissociated from the array.
This phenomenon is illustrated in Fig. 7.
The direct sound reached the listeners
ears rst. The reected beam arrived
just milliseconds later. The greater am-
plitude of the beam reection (illumi-
nation zone) would then circumvent the
precedence effect [19]. Consequently, a
listener located in the encircled region in
Fig. 7 might localize the sound anywhere
between the direct wave front incidence
and the reected BF wave front inci-
dence. The synergy of this technical arti-
ce and our artistic intention was clear,
as soft whispering typically reinforces
the idea of private acoustic arenas and
spheres. This whispering effect should be
further explored in future beamforming
experiments.
Analysis of the Results. Several factors
inuenced the perception of the piece.
Firstly, we observed how the soundscape
of the hall inuenced the auditory spa-
tial awareness of the listeners. As the level
and complexity of the original sound-
scape increased, the attention competi-
tion between the ambient soundscape
and the sound installation rose as well.
It is clear that the spatial smoothness of
the transition between illumination and
shadow zone was not drastic enough to
surprise the passersby. It would require
more than a 12 dB difference to dilute
the sound shadows in the ambient noise
while making it strongly audible in the
illumination zone. Secondly, the intricate
generative sound composition and the
use of eight simultaneous sound beams
created a complex spatial sound entity
that uninformed audiences tended to
experience as a whole. While creating
a rich experience of spatial sound, this
may have obscured the transitions from
illumination to shadow zones.
Architectural factors were also inu-
ential: The corridor shape of the hall
created zones where the audience was
to be sufcient to efciently explore
the spatial effects and themes described
earlier.
On-Site Perception of Sound Beams.
As expected, passersby were surprised
by the sounds they perceived that did
not t the public space they occupied.
Intrigued, they typically searched for the
source of these sounds. It was found that
the audience had to be informed about
sound beams in order to perceive the
beam illumination and shadow zones as
such. Indeed, such information tends to
encourage active listening. The interac-
tion of the beams with the architecture
was more clearly and readily perceived
when listeners were informed about what
spatial sound features they should listen
for. Listeners typically perceived the spa-
tialized sounds and their interaction with
the building, that is, positioning sounds
in surprising places, or simply blurring
their sound localization.
One of the most interesting effects ob-
tained was the whispering wall. When
the listener stood near a wall and was
simultaneously exposed to both the di-
rect sound from the array (due to beam
imperfections) and the reected beam
from the wall, the wall appeared to softly
the facing wall. An example of a bounc-
ing illumination zone is shown in Fig. 6b.
Depending on which illumination zone
(direct or reected) the listener stood
in, the perceived sound source was local-
ized as either the array or the reective
surface. The expected result was that the
audience would perceive the sounds as
if they were emanating from the walls
(either from static or moving reection
zones).
RESULTS, OBSERVATIONS AND
FUTURE PERSPECTIVE
Results
Beamforming. Preliminary listening
tests in the space of the art center Vido-
graphe conrmed the existence of sonic
illumination and shadow zones. The
transition from illumination to shadow
was progressive and continuous, as illus-
trated in Fig. 2. Theoretically, the illumi-
nation zone (i.e. in the beam) should
involve a 12 dB gain in comparison with
the shadow zone (outside the beam),
that is, it should be 16 times stronger
(when using 16 loudspeakers).
The fact that the illumination and
shadow zones differ by 12 dB might de-
ceive the most informed segment of the
audience, who tend to imagine sound
beams more sharply extruded in space.
However, the separation of public and
intimate auditory spheres along the sole
auditory modality does not compare
with the sharpness and brutality of op-
tical, thermal and acoustical isolation
provided by a wall. The remote creation
of sound boundaries and the delimita-
tion of intimate and public sonic zones
without walls are inherently complex and
difcult. However, within the context of
this installation, a 12 dB gain proved
Fig. 6. Spatial sound effects: (a) illumination and shadow zones; (b) sound localization on
reecting surfaces. ( Philippe-Aubert Gauthier)
Fig. 7. Walls inuence the sound localization. ( Philippe-Aubert Gauthier)
432 Gauthier and Pasquier, Auditory Tactics
cally to participate in the collective and
cultural understanding of the use of pri-
vate sound devices in public spaces [22].
This positioning is at the heart of our ar-
tistic statement and orients much of our
artistic work using technological devices
and knowledge.
Characterized by the separation be-
tween sonic illumination and shadow
zones and interaction with architectural
surfaces, beamforming opens new av-
enues for spatial sound composition. We
are eager to observe and participate in
future developments of this promising
artistic project.
On practical and artistic fronts, there is
a need for further exploration of interac-
tion between the loudspeaker system and
various architectural spaces. Besides pub-
lic spaces, concert halls and rooms used
for electroacoustic or sonic art displays
could be stimulating sites for further
experimentation. Within the xed time
frame of the Auditory Tactics residency,
we had only a glimpse of the possibili-
ties. Hence, the stimulating future that
lies ahead.
Acknowledgments
Philippe-Aubert Gauthier acknowledges the support
of Sherbrooke City (Programme de bourses aux
artistes et artisans dart ambassadeurs et en mer-
gence). The authors thank Yann Pasco for his help
in the fabrication of the array. The authors acknowl-
edge the support of Vidographe and the Pure-Data
Convention 2007. This paper was produced using
open source software.
References and Notes
Unedited references as provided by the authors.
1. Barry Blesser, Linda-Ruth Salter, Spaces SpeakAre
You Listening? (Cambridge: MIT Press, 2007).
2. Blesser and Salter [1].
3.Vidographe invited us for a creation residency at
their PARC laboratory. Vidographe is a Montral-
based art center devoted to independent video
and media art production and diffusion: <www
.videographe.qc.ca>, visited 25 July 2008.
4. Pure-Data is an open-source multimedia program-
ming environment: <www.pure-data.ca>, Pure Data
convention, 2126 August 2007, visited 25 July 2008.
5. Philippe-Aubert Gauthier, Sound Reproduction
Using Multi-Loudspeakers Systems, Harvest Moon
Festival, Concordia University, Montral, Canada,
www.econtact.ca 7.2 (2004) and Philippe-Aubert
Gauthier, Alain Berry, Wieslaw Woszczyk, Creative
sound projection using loudspeaker arrays, Music-
Works 93, 1416 (2005).
6. Philippe-Aubert Gauthier, Synthse de champs
sonores adaptative, Ph.D. Thesis, Universit de
Sherbrooke (Canada), 2007.
7. Yasushi Shimizu et al., Dynamic sound image cre-
ation by uni-directional sound beam reproduction
toward an interior surface with a DSP-controlled line
array speaker for Surround Sound Composition,
Acoustics 08, Paris, France, 29 June4 July 2008.
8. Abraham A. Moles, lisabeth Rhomer, Psychologie
de lespace (Casterman, 1978).
9. Barry Truax, Acoustic Communication (Westport:
Abex, 2001).
3. Type of space investigated. Future pre-
sentations would require careful
selection of an exhibition space,
consideration of the position of the
architectural surfaces relative to the
loudspeaker array and the position
of the audience relative to the loud-
speaker array. According to our ex-
perience, spatial sound effects and
perception with beamforming in a
given space are difcult to predict;
direct experiment is mandatory.
4. Alternative spatialization settings. A
further inuencing factor on the
reception of the piece is the com-
plexity of the spatialization. It
would be interesting to reduce the
number of beams to a single unique
beam.
These are only some of the possibilities
we envision for future versions of Audi-
tory Tactics.
CONCLUSION
The conquest of sound space as a com-
modity, possibly subject to personaliza-
tion, privatization and merchandising,
implies its division, its fragmentation
and its specialization. Technologies and
products such as Walkmans, MP3 players
and mobile phones all allow for a private
sound space to be superimposed on, or
to override, the public sound sphere.
This encourages the deployment and
creation of private auditory tactics on
top of or instead of public ones. How-
ever, these technologies, along with the
reshaping of the auditory tactics, both
serve and participate in an intrusive and
pernicious agenda: reshaping private
sound as a commodity. Sound technolo-
gies not only act upon social practices;
they also stem from social practices and
desires [21].
With Auditory Tactics, we questioned
this fragmentation and superimposition
of sound spaces with the assistance of
technological means. As such, the instal-
lation offered a reexive perspective on
this phenomenon through an artistic
medium. Beamforming technology was
fundamental in support of this artistic
proposition. We believe that such non-
utilitarian, artistic and hacked use of new
technologies must be pursued to allevi-
ate the otherwise commercial, economic
and technological determination of such
technologies identity. This is particularly
the case with a technological device that
as here is just making its way out of the
laboratory to become a socially absorbed
medium. Auditory Tactics is also a cultural
and political intervention aiming criti-
as far as 30 meters or as close as fewer
than 5 meters from the array. When
listeners were close to the array, the ef-
fects previously described tended to de-
crease: Sound seemed to come from the
array. A consistent array-listener distance
would be interesting to explore. As the
relative distance increased, the perceived
richness of the interaction between the
beams and the architecture increased:
Sounds were localized as moving and
sliding on surfaces.
Visibility of the array was detrimen-
tal: When the loudspeaker array was
visually obvious, the spatial impression
of sound emanating from reflecting
walls was often annihilated. The human
brain tends to combine vision of sound
sources with sound localization (e.g. the
ventriloquism effect, the justification
for the monophonic central voice chan-
nel in sound for moving images [20]).
However, subtle integration of the array
within the hall prevented many passersby
from visually identifying and localizing
the real sound source.
According to our own experience, the
sound beams were also localized on ceil-
ings, corners and other surfaces. In par-
ticular, sounds projected by beams with
a pivoting axis were clearly perceived as
sliding on the walls and corners. The
most intense effects came from very long
samples (without any drastic or repeat-
ing onsets) that had a noise component:
time-stretched breaths or drones. As
the number of simultaneous sounds in-
creased, the effect was reduced.
These results allowed us to identify sev-
eral axes for future work.
Future Avenues
In order to improve perception of the
sound beams and to enhance the recep-
tion of the installation, four axes need
further exploration:
1. Simplication of the composition and
sound material. What stems from the
project is the inuence of the com-
plexity and density of the sound
composition on spatial sound
perception and vice versa. Simpli-
cation of the composition might
contribute to greater clarity of the
acoustical beams as peculiar spatial
sound entities. This is a matter of
the attention and sensitivity of the
listener. For public space, it can be
assumed that these are diluted.
2. Modications of the loudspeaker array.
It would be interesting to increase
the directivity of the beams and the
intensity differential between illu-
mination and shadow zones.
Gauthier and Pasquier, Auditory Tactics 433
Manuscript received 9 February 2009.
Philippe-Aubert Gauthier is a post-doctoral fel-
low at the Groupe dAcoustique de lUniversit
de Sherbrooke, where he pursues research on
sound eld and sound environment reproduc-
tion. Gauthier is a self-taught audio artist.
His art and musical works have been presented
in Canada, the U.S.A., Mexico and Europe.
Philippe Pasquier is assistant professor at the
School of Interactive Arts and Technology of
Simon Fraser Universitys Faculty of Com-
munication, Art and Technology (Vancouver,
Canada). He conducts both a scientic and
an artistic research agenda.
(Cambridge: Cambridge University Press, 2007), p.
107125.
18. Philippe-Aubert Gauthier, Au-del des appar-
ences on CD Cache 2006, Canadian Electroacoustic
Community. Philippe Pasquier, Improvising Autom-
ata in Catalogue of MOIS MULTI, 2005. Philippe
Pasquier, Metacreation: Machines endowed with
creative behaviors, IAT-847, Graduate course, SIAT,
2008/2010.
19. Jens Blauert, Spatial Hearing (Cambridge: MIT
Press, 1999).
20. Blauert [19].
21. Sterne, p. 7 [10].
22. Selected terms and models of emerging technolo-
gies t the description by Steve J. Wurtzler, Electric
Sounds (New York: Columbia University Press, 2007).
10. Jonathan Sterne, The Audible Past: Cultural Ori-
gins of Sound Reproduction (Durham: Duke University
Press, 2003).
11. Blesser and Salter [1].
12. Sterne, p. 6 [10].
13. Sterne [10].
14. Lawrence E. Kinsler, Austin R. Frey, Alan B. Cop-
pens, James V. Sanders, Fundamentals of Acoustics
(New York: John Wiley and Sons, 2000).
15. Beamforming is applied to emission and capture
with similar algorithms. Teutsch Heinz, Modal Array
Signal Processing: Principles and Applications of Acoustic
Waveeld Decomposition (Berlin: Springer, 2007).
16. Sterne, p. 15 [10].
17. Karlheinz Essl, Algorithmic Composition, in Nick
Collins, Julio dEscrivn (eds), Electronic Music
Nanotechnology, Nanoscale Science and Art
Leonardo Special Section
Guest Editor: Tami I. Spector
2011 is the International Year of Chemistry! To celebrate, Leonardo is seeking to publish papers and art-
works that involve the intersections of chemistry, nanotechnology and art for our on-going special section
Nanotechnology, Nanoscale Science and Art.
Since its inception, nanotech/science has been intimately connected to chemistry; fullerenes, nanoputians,
molecular machines, nano-inorganics and self-assembling molecular systems, all spring from the minds and
labs of chemists, biochemists and chemical engineers. If youre a nano-oriented chemist who is serious
about art, an artist working at the molecular level, or a chemical educator exploring the mysteries of the
nano world through the arts we are especially seeking submissions from you.
Published Leonardo articles that explore the intersections of nanotech/science and art include:
Nanoscale and Painting by artist Filipe Rocha da Silva, Fact and Fantasy in Nanotech Imagery by scien-
tist David S. Goodsell, and Midas: A Nanotechnological Exploration of Touch by artist Paul Thomas.
Interested artists and authors are invited to send proposals, queries and/or manuscripts to the
Leonardo editorial ofce: Leonardo, 211 Sutter St., Suite 501, San Francisco, CA 94108, U.S.A.
E-mail: <leonardomanuscripts@gmail.com>.
CALL FOR PAPERS
Re-Imagining the Moon
Guest Editor: Sundar Sarukkai
Human exploration of the moon has become the subject of renewed interest, with upcoming space mis-
sions from all the space-faring nations, as well as private companies. In late 2008 the Indian Space Agency,
ISRO, launched the Chandrayaan 1 mission to the moon.
The moon has profoundly inuenced the human imagination over the centuries, in the domains of myths,
religion, art and science. A variety of cultures have generated rich narratives about the moon. The moon is
more than a mere objectit is also an image, an illusion, a picture. It inspires stories about lunacy as well as
love. It has regulated our lives in a fundamental way by catalyzing calendars based on its movement. Stories
of navigation are incomplete without the shadow presence of the moon.
The engagement of poetry, art and literature with the moon has had a profound inuence on these activi-
ties. The moon also has a political signicancenew space projects related to the moon by countries such
as Japan, China and India are fundamentally tied to the new articulations of what these countries are and
want to be.
The Leonardo Special Section Re-Imagining the Moon will remind us of this historical, cultural and sci-
entic trajectory in which the moon plays an important part even as it suggests new, contemporary reections
on the moon. The section aims to publish articles from a variety of disciplines and hopes to receive articles
that explore various social and cultural aspects related to the moon as well as those that engage with the
relation between the moon and the artistic and scientic imaginations. Reecting the universality of this
inuence, we seek articles from countries and cultures throughout the world.
We are also particularly interested in documenting artists projects connected to current space exploration
missions to the moon and collaborations between artists, scientists and engineers on moon projects.
Deadline: This is a three-year project. Manuscripts will be considered on an ongoing basis until 2012.
Submissions: Send manuscript proposals to Leonardo, 211 Sutter St., Suite 501, San Francisco, CA 94108,
U. S. A. E-mail: <leonardomanuscripts@gmail.com>.
Authors are encouraged to submit a manuscript proposal before sending a full manuscript.
Author Instructions: <www.leonardo.info/isast/journal/editorial/edguides.html>.
The project is part of the activities of the Leonardo Space Arts Working Group: <www.leonardo.info/
spaceart/spaceartproject.html>. The project follows on the Bangalore Space and Culture Symposium
held in 2007, a collaboration of the National Institute for Advanced Studies, The Arts Catalyst, Leonardo/
OLATS and the Srishti School for Art, Design and Technology: <http://cema.srishti.ac.in/space/?cat=5>.
Sundar Sarukkai, trained in physics and philosophy, has a Ph.D. from Purdue University. His research inter-
ests are in the areas of philosophy of science, philosophy of mathematics, postmodernism, phenomenology
and philosophy of art, drawing upon both Western and Indian traditions. His books include Translating
the World: Science and Language (University Press of America, 2002), Philosophy of Symmetry (IIAS, 2004) and
Indian Philosophy and Philosophy of Science (CSC, 2005). Currently he is professor and dean of the School of
Humanities and head of the Centre for Philosophy at the National Institute of Advanced Studies, Banga-
lore, India.
CALL FOR PAPERS