Le son est souvent qualifié de postmoderne, dans la mesure où les installations sonores associent son et visuels, enfreignant ainsi le principe de la séparation des genres qui constitue l'un des fondements de l'art moderniste. Cependant, dans de nombreux cas, le son manifeste une matérialité et des fonctionnalités relevant du moderne. Cela est vrai dans l'architecture, où l'on retrouve la notion de son moderne associée aux techniques d'isolation sonore pratiquées dans les immeubles modernes des premières décennies du XXème siècle. Ces techniques ont donné lieu à un son qui incarnait l'idée d'efficacité et qui soulignait la maîtrise technique de l'homme sur son environnement physique - autant de caractéristiques de la culture moderne. Il existe d'autres situations dans lesquelles se manifeste le son moderne. L'installation associant le son et les visuels peut dans certains cas être qualifiée de moderne, et dans le cas d'œuvres sonores portant sur les notions de temps et d'espace, nous avons pu identifier une conception de la spatio-temporalité tout à fait moderne. Ce sont autant de domaines qui permettent de déceler l'empreinte du moderne non encore révélée. Car si le récit du moderne dans son ensemble a été raconté de nombreuses fois, ce n'est pas le cas de l'histoire peu connue, mais tout aussi mouvementée, du son moderne - une histoire qui permet de revenir sur la question du moderne, et de révéler son actualité. / Sound installations are generally classified as postmodern: by associating sound and visuals, they infringe the principle of the separation of the genres typifying modernist art. Yet sound can nonetheless manifest a materiality and functionality that tie in with modem ideals. ln architecture for instance, we can identify the notion of modem sound in the context of the soundproofing techniques employed in modernist buildings in the early 20th century. These techniques gave rise to a sound that epitomized the modern idea of efficiency: stripped of any extraneous elements, it encouraged efficient behaviour among its listeners, while underscoring man's technical mastery over his physical environment - yet another modem trait. The notion of modem sound also manifests itself in other situations: certain installation associating sound and visuals can be described as modem, while many sound works addressing the notions of space and time testify to a modem concept of spatio-temporality. The story of modernist has been told many times, but yet to be told is the equally eventful story of modem sound - a narrative that revisits the question of modernism and underscores its relevance today.

Sonic logs are essential tools for reliably identifying interval velocities which, in turn, are used in many seismic processes. One problem that arises, while logging, is irregularities due to washout zones along the borehole surfaces that scatters the transmitted energy and hence weakens the signal recorded at the receivers. To alleviate this problem, I have extended the theory of super-virtual refraction interferometry to enhance the signal-to-noise ratio (SNR) sonic waveforms. Tests on synthetic and real data show noticeable signal-to-noise ratio (SNR) enhancements of refracted P-wave arrivals in the sonic waveforms. The theory of super-virtual interferometric stacking is composed of two redatuming steps followed by a stacking procedure. The first redatuming procedure is of correlation type, where traces are correlated together to get virtual traces with the sources datumed to the refractor. The second datuming step is of convolution type, where traces are convolved together to dedatum the sources back to their original positions. The stacking procedure following each step enhances the signal to noise ratio of the refracted P-wave first arrivals. Datuming with correlation and convolution of traces introduces severe artifacts denoted as correlation artifacts in super-virtual data. To overcome this problem, I replace the datuming with correlation step by datuming with deconvolution. Although the former datuming method is more robust, the latter one reduces the artifacts significantly. Moreover, deconvolution can be a noise amplifier which is why a regularization term is utilized, rendering the datuming with deconvolution more stable. Tests of datuming with deconvolution instead of correlation with synthetic and real data examples show significant reduction of these artifacts. This is especially true when compared with the conventional way of applying the super-virtual refraction interferometry method.

MicroRNAs regulate pathways contributing to oncogenesis, and thus the mechanisms causing dysregulation of microRNA expression in cancer are of significant interest. Mature mir-29b levels are decreased in malignant cells, and this alteration promotes the malignant phenotype, including apoptosis resistance. However, the mechanism responsible for mir-29b suppression is unknown. Here, we examined mir-29 expression from chromosome 7q32 using cholangiocarcinoma cells as a model for mir-29b downregulation. Using 5′ rapid amplification of cDNA ends, the transcriptional start site was identified for this microRNA locus. Computational analysis revealed the presence of two putative E-box (Myc-binding) sites, a Gli-binding site, and four NF-κB-binding sites in the region flanking the transcriptional start site. Promoter activity in cholangiocarcinoma cells was repressed by transfection with c-Myc, consistent with reports in other cell types. Treatment with the hedgehog inhibitor cyclopamine, which blocks smoothened signaling, increased the activity of the promoter and expression of mature mir-29b. Mutagenesis analysis and gel shift data are consistent with a direct binding of Gli to the mir-29 promoter. Finally, activation of NF-κB signaling, via ligation of Toll-like receptors, also repressed mir-29b expression and promoter function. Of note, activation of hedgehog, Toll-like receptor, and c-Myc signaling protected cholangiocytes from TRAIL-induced apoptosis. Thus, in addition to c-Myc, mir-29 expression can be suppressed by hedgehog signaling and inflammatory pathways, both commonly activated in the genesis of human malignancies.

Indiana University-Purdue University Indianapolis (IUPUI) / Loss of the finite cochlear hair cells of the inner ear results in sensorineural deafness. Human cochlear hair cells do not regenerate, and there is no cure for deafness. Our laboratory has established a three-dimensional culture system for deriving functional sensory hair cells from human pluripotent stem cells. A major limitation of this approach is that derived hair cells exhibit a morphological and gene expression phenotype reflective of native vestibular hair cells. Previous studies have shown that establishment of localized domains of gene expression along the dorso-ventral axis of the developing otic vesicle is necessary for proper morphogenesis of both auditory and vestibular inner ear structures. Sonic hedgehog (SHH) signaling has been shown to play a key role in specification of the ventral otic vesicle and subsequent cochlear development. Here, SHH treatment was pursued as a potential strategy for inducing a patterning phenotype permissive to cochlear induction in vitro. Single-cell RNAsequencing analysis revealed that while treatment with the SHH pathway agonist Purmorphamine reduced expression of markers for the vestibular-yielding dorsal otic vesicle, upregulation of ventral otic marker genes was modest. More strikingly, the number of otic progenitors exhibiting a neuroprogenitor phenotype increased in response to Purmorphamine treatment. These results suggest that SHH pathway modulation in early-stage inner ear organoids may bias their differentiation toward a neural lineage at the expense of an epithelial lineage. The present study is the first to evaluate the patterning phenotype of human stem cell derived otic progenitors, and sheds light on the transcriptomic profile at this critical point of inner ear development. This study may also cultivate future efforts to derive cochlear cell types as well as inner ear neural cell types from human pluripotent stem cells, and contribute to the establishment of a more complete in vitro model of inner ear development. / 2021-08-21

With this thesis project I plan to create an embodied and sonic interactive experience. The theoretical basis brings together Somaesthetic Design and Deep Listening practices in the form of a movement based, sound installation. The results of engagement aim to develop awareness and with deep engagement produce a nonduality state. Taking influence from works by David Rokeby, Eliane Radigue, Bernard Leitner and Rian Treanor, this project revolves around the physical navigation of a soundscape with a secondary outcome of increasing awareness along with aiding stress and anxiety. The project also focuses on the importance of sound and its under representation in Interaction Design. The research began with a number of experiments taking cues from the mentioned practices, and to determine the overall effects of certain sounds when coupled with bodily engagement. After analyzing the relevant data the project underscores that the combination of sonic and embodied interaction can lead to positive therapeutic effects.

Ambiences that represent environments or landscapes play a crucial role in the soundtrack of a film when the geographic setting is important for the film’s narrative. When sound designers can encourage viewers to both notice and accept the environment displayed in the film, this can contribute to an immersive experience. Prior research has discussed how changes in the level of detail, or complexity, of ambiences and soundscapes can affect the perceived immersion of a film experience. This study aims to further investigate this topic by looking at how the complexity of a minor category of sound elements, environmental sounds, affects the immersiveness of a film scene. A listening/viewing test was conducted in a controlled studio environment where participants watched a video segment that was synced to two different versions of an environmental soundscape. One version was more complex than the other. All of the subjects watched and listened to the same video-soundscape combinations. Both quantitative and qualitative data were collected through an online questionnaire. The participants were asked to rate the video segments for immersion-related qualities and to motivate their ratings. The results did not show enough statistical significance to support the idea that a change in complexity affects all of the three qualities perceived presence, realism and how accurately the amount of sonic details matched the picture. However, the subjects’ motivations of their ratings for perceived presence and realism indicate that a detailed, layered soundscape that includes rarely occurring sound elements provides a stronger experience of presence and realism. Future research based on the findings from this study is presented.

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The thesis develops the acoustic theory of the propagation of the shook waves produced by an aircraft in supersonic flight through an atmosphere in which the speed of sound decreases linearly with altitude. The problem is first studied in terms of the geometry of the rays along which the shock wave travels away from its point of origin and into the surrounding atmosphere. The equation of the rays is derived and certain important properties of the rays are discussed. It is shown how these results lead to a systematic graphical procedure for determining the location of the shock wave of a maneuvering aircraft. The theory is then considered in terms of the geometry of the "wave fronts" which represent the instantaneous positions of the individual disturbances created along the flight path. The shape of a wave front and its growth with time are determined. From this the equations for the envelope of a one-parameter family of wave fronts are obtained. The envelope equations are solved in parametric form and several examples are worked out which show some effects of flight maneuvers upon shock wave propagation. / M.S.