The project to design a CD transport (CD player) in conjunction with Perreaux Industries came about from the need for a source component in their Silhouette series of products. This project describes the design a high quality CD player, at a low price, to compliment Perreaux's Silhouette series. A CD drive is selected over a proprietary optical pickup due to the former's low cost and the standardisation of the interface. The control circuitry includes a micro controller and discrete logic to provide the correct data and clock signals to the SPDIF transmitter and DAC circuits. These two circuits provided a high quality analogue output, and facilitate an upgrade path by connecting the SPDIF output to an external DAC. After three board iterations, a final production ready revision was achieved. The design includes a high quality toroidal transformer, low jitter crystal oscillator, and a very high quality SPDIF pulse transformer output. The design also allows a remote input to control the player, and an optional digital cable via an RJ45 connector to provide synchronisation with a future design of the SXD2 DAC module, or to transmit SPDIF to a remote location. The specifications of the final design were higher than expectations. The digital output boasts equal or superior performance to competitive products in the same price range, with the analogue output attaining exceptionally high performance.

Detta kandidatarbete undersöker Pierre Schaeffers (2012 [1952]) begrepp musique concrète samt dess metoder och tekniker. Musique concrète kan beskrivas som en samling kompositionsmetoder som utgår från inspelade ljud av omvärlden utan inblandning av musikinstrument, musikteori, eller ljud genererade från elektroniska källor. Vi använde Schaffers begrepp reduced listening, vilket är en lyssningsmetod där man bortser från ljudets källa och fokuserar på dess akustiska egenskaper, (vilket Michel Chion (1994) senare expanderade på). Jøran Rudi (2011) skriver om R. Murray Schafer’s begrepp Hi-Fi och Lo-Fi, vilket vi använde för att kategorisera ljuden som användes och platserna som spelades in. I designprocessen applicerade och experimenterade vi med metoder och tekniker från den aktuella forskningen för att utforska och dokumentera arbetsprocessen i gestaltningsprototyperna. Detta arbete resulterade i en samling kompositioner utefter Lo-Fi och Hi-Fi inom musique concrète där vi fick en bredare förståelse för de aktuella metoderna och teknikerna. / This bachelor thesis examines Pierre Schaeffer’s (2012 [1952]) term musique concrète as well as it’s methods and techniques. Musique concrète can be described as a collection of compositional methods that uses recorded sounds from the surrounding world as a startingpoint, without the use of musical instruments, music theory, or electronically produced sounds. We used Schaeffer’s term reduced listening (which Michel Chion (1994) later expanded upon). Jøran Rudi (2011) writes about R. Murray Schafer’s term Hi-Fi and Lo-Fi,and these terms were later used by us to categorise and record sounds from the environment. Investigation and experimentation with the various methods and techniques ensued in the design process in order to explore and document the work process of the prototypes. This process resulted in a collection of musique concrète compositions stemming from the Lo-Fi och Hi-Fi processes through which we gained more knowledge and understanding of themethods and techniques involved.

No description available.

<p>The color gamut, i.e. the range of reproducible colors, is in most conventional display systems not sufficient for accurate color reproduction of highly saturated colors. Any conventional three-primary display suffers from a color gamut limited within the triangle spanned by the primary colors. Even by using purer primaries, enlarging the triangle, there will still be a problem to cover all the perceivable colors. By using a system with more than three primary colors, in printing denoted Hi-Fi color, the gamut will be expanded into a polygon, yielding a larger gamut and better color reproduction. </p><p><i>Digital Light Processing (DLP)</i> is a projection technology developed by Texas Instrument. It uses a chip with an array of thousands of individually controllable micromirrors, each representing a single pixel in the projected image. A lamp illuminates the micromirrors, and by controlling the amount of time each mirror reflect the light, using pulse width modulation, the projected image is created. Color reproduction is achieved by letting the light pass through color filters, corresponding to the three primaries, mounted in a filter wheel. </p><p>In this diploma work, the DLP projector InFocus^® LP™350 has been evaluated, using the Photo Research^® PR^®-705 Spectroradiometer. The colorimetric performance of the projector is found to be surprisingly poor, with a color gamut noticeably smaller then that of a CRT monitor using standardized phosphors. This is due to the broad banded filters used, yielding increased brightness at the expense of the pureness of the primaries. </p><p>With the intention of evaluating the potential for the DLP technology in multi- primary systems, color filters are selected for additional primary colors. The filters are selected from a set of commercially available filters, the Kodak Wratten filters for science and technology. Used as performance criteria for filter selection is the volume of the gamut in the CIE 1976 (L*u*v*) uniform color space. </p><p>The selected filters are measured and evaluated in combination with the projector, verifying the theoretical results from the filter selection process. Colorimetric performance of the system is greatly improved, yielding an expansion of the color gamut in CIE 1976 (L*u*v*) color space by 79%, relative the original three-primary system. These results indicate the potential for DLP in multiprimary display systems, with the capacity to greatly expand the color gamut, by using carefully selected filters for additional primary colors.</p>

The color gamut, i.e. the range of reproducible colors, is in most conventional display systems not sufficient for accurate color reproduction of highly saturated colors. Any conventional three-primary display suffers from a color gamut limited within the triangle spanned by the primary colors. Even by using purer primaries, enlarging the triangle, there will still be a problem to cover all the perceivable colors. By using a system with more than three primary colors, in printing denoted Hi-Fi color, the gamut will be expanded into a polygon, yielding a larger gamut and better color reproduction. Digital Light Processing (DLP) is a projection technology developed by Texas Instrument. It uses a chip with an array of thousands of individually controllable micromirrors, each representing a single pixel in the projected image. A lamp illuminates the micromirrors, and by controlling the amount of time each mirror reflect the light, using pulse width modulation, the projected image is created. Color reproduction is achieved by letting the light pass through color filters, corresponding to the three primaries, mounted in a filter wheel. In this diploma work, the DLP projector InFocus® LP™350 has been evaluated, using the Photo Research® PR®-705 Spectroradiometer. The colorimetric performance of the projector is found to be surprisingly poor, with a color gamut noticeably smaller then that of a CRT monitor using standardized phosphors. This is due to the broad banded filters used, yielding increased brightness at the expense of the pureness of the primaries. With the intention of evaluating the potential for the DLP technology in multi- primary systems, color filters are selected for additional primary colors. The filters are selected from a set of commercially available filters, the Kodak Wratten filters for science and technology. Used as performance criteria for filter selection is the volume of the gamut in the CIE 1976 (L*u*v*) uniform color space. The selected filters are measured and evaluated in combination with the projector, verifying the theoretical results from the filter selection process. Colorimetric performance of the system is greatly improved, yielding an expansion of the color gamut in CIE 1976 (L*u*v*) color space by 79%, relative the original three-primary system. These results indicate the potential for DLP in multiprimary display systems, with the capacity to greatly expand the color gamut, by using carefully selected filters for additional primary colors.

I Stockholm pratades det om klubbdöden under 2019 eftersom flera högljudda kulturaktiviteter behövt stänga i innerstaden. Den huvudsakliga anledningen var konflikter mellan boende och kulturaktiviteter om bullerstörningar som naturligt uppstår när människor ska bo, verka och leva i en tät blandstadsmiljö. I Slakthusområdet ska denna problematik bemötas för att bli en nöjes- och evenemangsknutpunkt tillsammans med höga målsättningar om bostadsbyggande i blandstad. Den tidigare forskningen visar på att god ljudmiljö är mer komplext än endast reduceringen av önskade ljud utefter mätbara decibel. I Kulturkvarteren möts förståelsen av god ljudmiljö och blandstaden vid planeringen av högljudda kulturaktiviteter och utgör därför fallet i denna studie. I form av en kvalitativ innehållsanalys studerades planeringens förutsättningar, intentioner och åtgärder för att svara på om god ljudmiljö och blandstad är förenligt vid planeringen av högljudda kulturaktiviteter. För att studera det tillämpades teorin om ljud som en resurs och ljud som oönskat buller tillsammans med teorier om vad som utgör blandstaden. Dokumentstudier innefattade Slakthusområdets planprogram och Kulturkvarterens olika plandokument. Övergripande dokument från myndigheter studerades också för att skapa en större förståelse för planeringens förutsättningar. Intervjuer utförde med en planarkitekt, miljöutredare, nationell bullersamordnare, jurist och akustiker på Boverket, Naturvårdsverket, Miljöförvaltningen och Stockholms stad. Resultaten visar på att, i Kulturkvarteren, har ett defensivt förhållningssätt utgåtts ifrån där kulturaktiviteters ljudnivåer begränsas för att möjliggöra blandstadskvaliteteter. Möjliggörandet av en större variation i funktioner, människor och aktiviteter på den lilla skalan underbygger planeringens intentioner och åtgärder för en ljudmiljö där ljudkällor ska vara i balans med varandra för att inte maskera andra ljud. Bostadens riktvärden för ljud är den centrala faktorn i förutsättningarna för ljudmiljön i blandstaden och planeringens intentioner för den urbana ljudmiljön kunde därför ses som en funktion av bulleråtgärder snarare än direkta intentioner och åtgärder. Planeringen av kulturaktiviteter innebar därför inte en god ljudmiljö där högre kulturella ljud konsolideras i blandstadsmiljön utefter ljudets mening och sociokulturella kontext. Kulturkvarteren som en plats där högre kulturellt ljud görs möjligare, i högre grad, än i resten av innerstaden kunde därför ifrågasättas. Förenligheten i god ljudmiljö och blandstad vid planeringen av högljudda kulturaktivitet i Kulturkvarteren är hög i många aspekter. Högre ljudnivåer i lokaler möjliggörs och en god ljudmiljö utomhus och i bostäder säkerställs baserat på effekten på människors fysiologiska hälsa. Det förutsätter däremot en förståelse av god ljudmiljö som tystare där högre ljud, oberoende av dess subjektiva uppskattning, ska reduceras eller kontrolleras. Förenligheten i god ljudmiljö och blandstad är därför kontextuell. Högre ljudnivåer som en resurs kan innebär goda ljudkvaliteter utifrån platsens sociokulturella aspekt och ljudets mening men det är mindre förenligt med blandstaden på grund av riktvärdenas tillämpning men även planeringen intentioner för blandstadskvaliteter på den lilla skalan. Möjliggörandet av högre kulturljud i Kulturkvarteren innebar en reglering som säkerställer att riktvärden inte överstigs och inte att högre ljudnivåer möjliggörs i den urbana miljön. Jag anser därför att god ljudmiljö måste lyftas i bredare mening för att möjliggöra en större variation av ljudmiljöer som kan skapa platser i innerstaden för de kulturaktiviteter som inte ryms under riktvärdenas mätbarhet men som tillför andra goda ljudkvaliteteter. / In Stockholm, there was a discussion about the death of clubs in 2019 due to the closure of several vibrant cultural activities in the city centre. The main reason behind this was conflicts between residents and cultural activities regarding noise disturbances that naturally occur when people live, work, and coexist in a densely populated urban environment. In the Slakthusområdet area, efforts are being made to address this issue and transform it into a hub for entertainment and events, while also setting ambitious goals for mixed-use residential development. Previous research indicates that a good sound environment is more complex than simply reducing the desired sounds based on measurable decibels. In one of Slakthusområdets areas, Kulturkvarteren, the understanding of a good sound environment meets mixed-use urban development when planning for loud cultural activities, thereby making it the case of the study. Using a qualitative content analysis approach, this study examines the conditions, intentions, and measures taken in the planning process to determine whether a good sound environment and mixed-use urban development are compatible when planning for loud cultural activities. To study this, a theoretical framework consisting of sound as a resource and sound as unwanted noise was applied. This was then studied by applying theory regarding what constitutes the mixed-use city. The study involved examining documents such as the Slakthusområdet's master plan and various planning documents related to the Kulturkvarteren. Additionally, overarching documents from relevant authorities were also studied to gain a better understanding of the planning conditions. Interviews were conducted with a planning architect, environmental assessor, national noise coordinator, lawyer, and acoustician from Boverket, Naturvårdsverket, Miljöförvaltningen, and the City of Stockholm.  The findings demonstrate that, in Kulturkvarteren, a defensive approach has been taken, wherein the sound levels of cultural activities are limited to enable mixed-use qualities. Facilitating a greater variety of functions, people, and activities on a small scale supports the intentions and measures of the planning process aimed at achieving a sound environment where sound sources are balanced to avoid masking other sounds. The residential sound standards serve as a pivotal factor in shaping the acoustic conditions in the mixed-use city, and the planning intentions for the urban sound environment can therefore be viewed as a function of noise control rather than direct intentions and measures. Consequently, the planning of cultural activities does not result in a good sound environment where higher cultural sounds are integrated into the mixed-use environment based on the meaning of sound and sociocultural context. Therefore, the notion of the Kulturkvarteren as a place where higher cultural noise levels are enabled compared to the rest of the city could be subject to scrutiny. The compatibility between a good sound environment and mixed-use in the planning of loud cultural activities in Kulturkvarteren is favourable in several aspects. Higher sound levels indoors are made possible, and a favourable sound environment is ensured outdoors and in residential areas based on the impact on people's physiological well-being. However, this presupposes an understanding of a good sound environment as being quieter, where higher sounds, regardless of their subjective appreciation, should be reduced or controlled. Therefore, the compatibility between a good sound environment and mixed-use is context dependent. Higher sound levels, as a resource, may provide favourable sound qualities based on the sociocultural aspect of the location and the meaning of sound. However, it is less compatible with the mixed-use city due to the application of sound standards and the planning intentions for mixed-use qualities on a small scale. The facilitation of higher cultural sounds in the Kulturkvarteren entailed regulation to ensure that sound standards are not exceeded, rather than enabling higher sound levels in the urban environment. Hence, I argue that a broader understanding of a good sound environment is necessary to allow for a greater variety of sound environments that can create spaces in the city centre for cultural activities that fall outside the scope of measurable sound standards but contribute to other favourable sound qualities.

(Not) Drawing The Line: Technology Re-examined is the culmination of interdisciplinary research exploring the nature of materiality and process in the fields of art, science, and technology. Exploration and experimentation in these diverse disciplines have helped to illuminate many of the ideas and concepts that have guided the overall research process. These explorations have also honed the ability to critically examine how technology is perceived and represented, post-internet.   This document illustrates the processes involved in the conception and creation of a body of work manifested through visual and technological problem solving, investigative research of materials and technologies, and the fundamental concerns of art, technology, form and pattern. These empirical areas of research are punctuated by literary texts on the philosophy of art and technology that have informed many of the visual comparisons represented. This body of evidence is an exploration of the idea that the evolution of technological developments can often be attributed to the creation of art through the heuristic experimentation and visual explorations of the artist. / Master of Fine Arts