Pub Date : 2023-01-01DOI: 10.25370/array.v20223479
Margarethe Maierhofer-Lischka
{"title":"Vertigo of the ears and eyes","authors":"Margarethe Maierhofer-Lischka","doi":"10.25370/array.v20223479","DOIUrl":"https://doi.org/10.25370/array.v20223479","url":null,"abstract":"","PeriodicalId":8417,"journal":{"name":"Array","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.25370/array.v20223478
Kerry L. Hagan
Considering binaural recordings are currently the only method for reproducing spatial music in two channels, it made sense that conferences for spatial music relied on delivering binaural audio in various ways. Previous to ICMC 2022, I attended several online concerts that tried to provide spatial audio. In some cases, artists created VR simulations of their works. VR was especially interesting for spatial compositions with visual elements, but it was a convoluted method for creating binaural recordings for audio-only pieces. Additionally, composers without access to VR engines could not present with this method. space
{"title":"Spatial Audio in Online Presentations","authors":"Kerry L. Hagan","doi":"10.25370/array.v20223478","DOIUrl":"https://doi.org/10.25370/array.v20223478","url":null,"abstract":"Considering binaural recordings are currently the only method for reproducing spatial music in two channels, it made sense that conferences for spatial music relied on delivering binaural audio in various ways. Previous to ICMC 2022, I attended several online concerts that tried to provide spatial audio. In some cases, artists created VR simulations of their works. VR was especially interesting for spatial compositions with visual elements, but it was a convoluted method for creating binaural recordings for audio-only pieces. Additionally, composers without access to VR engines could not present with this method. space","PeriodicalId":8417,"journal":{"name":"Array","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.25370/array.v20223481
Guiseppe Pisano
As a composer of acousmatic music, I have often presented my work on a variety of different loudspeaker systems whese can be subdivided in two macro-families: those intended for the playback of multichannel pieces – often symmetric systems, in the shape of a circle, a dome, or a regular polygon – and those intended for acousmatic diffusions – the loudspeaker orchestras, mainly employed for the diffusion of stereo pieces, where the performer spatializes sound in real time. In this practice, it is not uncommon to listen to re-adaptations of pieces, presented in different formats to suit different types of systems, and I have always found the Ambisonics workflow a very successful approach to scale my pieces on systems belonging to the first macro-family. However, when I first faced the need of presenting my multichannel pieces on systems meant for stereo diffusion, I was very unhappy with the results I achieved through the typical methods employed to adapt Ambisonics space
{"title":"Stereo and Ambisonics: A reflection over parallel spatialization techniques","authors":"Guiseppe Pisano","doi":"10.25370/array.v20223481","DOIUrl":"https://doi.org/10.25370/array.v20223481","url":null,"abstract":"As a composer of acousmatic music, I have often presented my work on a variety of different loudspeaker systems whese can be subdivided in two macro-families: those intended for the playback of multichannel pieces – often symmetric systems, in the shape of a circle, a dome, or a regular polygon – and those intended for acousmatic diffusions – the loudspeaker orchestras, mainly employed for the diffusion of stereo pieces, where the performer spatializes sound in real time. In this practice, it is not uncommon to listen to re-adaptations of pieces, presented in different formats to suit different types of systems, and I have always found the Ambisonics workflow a very successful approach to scale my pieces on systems belonging to the first macro-family. However, when I first faced the need of presenting my multichannel pieces on systems meant for stereo diffusion, I was very unhappy with the results I achieved through the typical methods employed to adapt Ambisonics space","PeriodicalId":8417,"journal":{"name":"Array","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.25370/array.v20223484
Miriam Akkermann
While physical space is fundamental to any sound's (physical) being – and thus being heard – advancements in technology and COVID pandemic-related limitations to physical travel and meeting in larger crowds prompted debate on how to design hybrid and virtual spaces in which music and sound art can be performed adequately. The question of how to make music together while being located at distant places, as well as issues concerning the integration of a wide-spread audience using telecommunication technologies, is, however, neither completely new nor limited to digital virtuality. Currently termed as ‘telematic’and ‘networked’art works and performances, there exists a quite long history of using distributed sounds and sound related information in order to create artistic settings and performances. For example, listening to live music performances or entertainment programs from a distance was already possible in the transition to the 20th century. Facilitated by Electrophone telespace
{"title":"Music is in the air. Sounding performances in hybrid and virtual space","authors":"Miriam Akkermann","doi":"10.25370/array.v20223484","DOIUrl":"https://doi.org/10.25370/array.v20223484","url":null,"abstract":"While physical space is fundamental to any sound's (physical) being – and thus being heard – advancements in technology and COVID pandemic-related limitations to physical travel and meeting in larger crowds prompted debate on how to design hybrid and virtual spaces in which music and sound art can be performed adequately. The question of how to make music together while being located at distant places, as well as issues concerning the integration of a wide-spread audience using telecommunication technologies, is, however, neither completely new nor limited to digital virtuality. Currently termed as ‘telematic’and ‘networked’art works and performances, there exists a quite long history of using distributed sounds and sound related information in order to create artistic settings and performances. For example, listening to live music performances or entertainment programs from a distance was already possible in the transition to the 20th century. Facilitated by Electrophone telespace","PeriodicalId":8417,"journal":{"name":"Array","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Monibor Rahman, Md. Saikat Islam Khan, H. M. H. Babu
{"title":"BreastMultiNet: A multi-scale feature fusion method using deep neural network to detect breast cancer","authors":"M. Monibor Rahman, Md. Saikat Islam Khan, H. M. H. Babu","doi":"10.2139/ssrn.4199184","DOIUrl":"https://doi.org/10.2139/ssrn.4199184","url":null,"abstract":"","PeriodicalId":8417,"journal":{"name":"Array","volume":"16 1","pages":"100256"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41950178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：