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Tese de mestrado. Multimédia (Área de Especialização de Música Interactiva e Design de Som). Faculdade de Engenharia. Universidade do Porto. 2012

Orientador(a): Milton Terumitsu Sogabe / Banca: Lilian Campesato Custódio da Silva / Banca: José Paiani Spaniol / Resumo: O trabalho realiza pesquisa na área de cartografia sonora. Tem a proposição de escutar a paisagem sonora da cidade de São Paulo, focando em um catador de resíduos sólidos recicláveis com sua carroça, com as vozes das narrativas e as situações criadas no seu entorno. Lucena, o catador, equipou sua carroça com diversos equipamentos sonoros e visuais, transformando em uma carroça multimídia. A carroça, além de carregar os materiais recicláveis, é também sua moradia. A pesquisa foi organizada e inspirada no formato do caleidoscópio, com três faces espelhadas que apresentam diferentes combinações dos aspectos observados: a) apresentação do catador e sua carroça sonora, b) questões do trabalho do catador e morador de rua, c) multiplicidade do objeto carroça como instrumento de trabalho, símbolo cultural, simbólico e artístico, permeados pelo modos de habitar dos moradores em situação de rua. Esses aspectos foram analisados no contexto de uma performance no cotidiano. Desdobrando em projetos artísticos elaborados como resultado na apresentação do trabalho final: a) projeto de vídeo caleidoscópio, b) performance com proposição, c) intervenções em fotografias e d) peças em cerâmicas. O caleidoscópio é um objeto e um brinquedo, um jogo de ver vários caquinhos coloridos, soltos, de diferentes tamanhos e formas dentro de um prisma triangular espelhado, através de um orifício, um visor em um dos lados do prisma. Ao girar o prisma, novas configurações desses caquinhos surgem criando formas... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present work achieves a research in the sound cartography area. It aims to listening to the soundscape of the city of São Paulo and it focus on a recyclable solid waste picker, its wagon and the voices of the narratives and situations created in their surroundings. Lucena, the scavenger, equipped his wagon with various sound and visual equipment, so it became a multimedia wagon. The wagon, in addition to carrying the recyclable materials, is also his home. This research was organized inspired by the kaleidoscope format, with three mirrored faces that present different combinations of the observed aspects: a) presentation of the collector and his sound carriage, b) questions about the work of the collector and the homeless person, c) multiplicity of the wagon object as an instrument of work, cultural and poetic symbol, permeated by the ways of inhabiting the homeless people. These aspects were analyzed in the context of a daily performance with the proposition of listening: the sound landscape, the narratives and the situations created in their surroundings. Departing in artistic projects elaborated as a result of the presentation of the final work: a) kaleidoscope video project, b) performance with proposition, c) interventions in photographs and d) ceramics pieces. The kaleidoscope is an object and a toy, a game of seeing several colorful, loose, colored pieces of different sizes and shapes inside a mirrored triangular prism through a hole, a display on one side of the... (Complete abstract click electronic access below) / Mestre

<p>This essay is about the relationship between the spatial reality and the imaginary reality in the auditory artwork The Missing Voice (case study b) by Janet Cardiff. The analysis is based on a semiotic model that differentiate between two types of signifieds; a denotative signified and a connotative signified. Those terms, with focus on connotation, is used in relation to sound and linguistic signs in the auditory reality of the artwork.</p><p>The first chapter “Den okroppsliga rösten” discusses the relationship between the several voices of fiction and the spatial reality in The Missing Voice (case study b). There are four versions of the voice of cardiff and two other masculine voices that reach out, through the auditory reality, to the participant of the artwork. The participant throws therefore between the spatial reality and the reality of fiction. </p><p>The second chapter “Den akustiska upplevelsen” discusses what happens when the aucoustic reality is in and out of sync with the spatial reality in The Missing Voice (case study b). When the two soundscapes, the real and the auditory, synchronize it’s difficult for the participant to separate between reality and fiction. Those recorded sounds originate from the spatial reality and therefore connotes this reality. Sometimes Cardiff refers to sounds that are invisible in the spatial reality, the soundscapes are then not in sync with each other, but still the sounds are so close to the spatial reality that they feel real.</p><p>The last chapter “Det imaginära rummet” is about the meeting between the real spatiality and the imaginäry. On many occations in the artwork the voice of Cardiff transforms the real room to a room from the past. Then her words connotations reinforces the experience of the presence of the imaginäry room in the real room.</p>

The present doctoral thesis outlines a new model in psychological aesthetics, named the Information-Load Model. This model asserts that aesthetic appreciation is grounded in the relationship between the amount of information of stimuli and people’s capacity to process this information. This relationship results in information load, which in turn creates emotional responses to stimuli. Aesthetic appreciation corresponds to an optimal degree of information load. Initially, the optimal degree is relatively low. As an individual learns to master information in a domain (e.g., photography), the degree of information load, which corresponds to aesthetic appreciation, increases. The present doctoral thesis is based on three empirical papers that explored what factors determine aesthetic appreciation of photographs and soundscapes. Experiment 1 of Paper I involved 34 psychology undergraduates and 564 photographs of various motifs. It resulted in a set of 189 adjectives related to the degree of aesthetic appreciation of photographs. The subsequent experiments employed attribute scales that were derived from this set of adjectives. In Experiment 2 of Paper I, 100 university students scaled 50 photographs on 141 attribute scales. Similarly, in Paper II, 100 university students scaled 50 soundscapes on 116 attribute scales. In Paper III, 10 psychology undergraduates and 5 photo professionals scaled 32 photographs on 27 attribute scales. To explore the underlying structure of the data sets, they were subjected to Multidimensional Scaling and Principal Components Analyses. Four general components, related to aesthetic appreciation, were found: Familiarity, Hedonic Tone, Expressiveness, and Uncertainty. These components result from the higher-order latent factor Information Load that underlies aesthetic appreciation.

This essay is about the relationship between the spatial reality and the imaginary reality in the auditory artwork The Missing Voice (case study b) by Janet Cardiff. The analysis is based on a semiotic model that differentiate between two types of signifieds; a denotative signified and a connotative signified. Those terms, with focus on connotation, is used in relation to sound and linguistic signs in the auditory reality of the artwork. The first chapter “Den okroppsliga rösten” discusses the relationship between the several voices of fiction and the spatial reality in The Missing Voice (case study b). There are four versions of the voice of cardiff and two other masculine voices that reach out, through the auditory reality, to the participant of the artwork. The participant throws therefore between the spatial reality and the reality of fiction.  The second chapter “Den akustiska upplevelsen” discusses what happens when the aucoustic reality is in and out of sync with the spatial reality in The Missing Voice (case study b). When the two soundscapes, the real and the auditory, synchronize it’s difficult for the participant to separate between reality and fiction. Those recorded sounds originate from the spatial reality and therefore connotes this reality. Sometimes Cardiff refers to sounds that are invisible in the spatial reality, the soundscapes are then not in sync with each other, but still the sounds are so close to the spatial reality that they feel real. The last chapter “Det imaginära rummet” is about the meeting between the real spatiality and the imaginäry. On many occations in the artwork the voice of Cardiff transforms the real room to a room from the past. Then her words connotations reinforces the experience of the presence of the imaginäry room in the real room.

Esta tese – Tá Ligado?! Práticas de escuta de jovens urbanos contemporâneos e panoramas sonoros na metrópole, uma pauta para a Educação – tem como objetivo mostrar e compreender a produtividade das práticas de escuta de jovens urbanos contemporâneos a partir de artefatos sonoros portáteis na construção de identidades e culturas juvenis. Neste sentido busco caracterizar as práticas de escuta, mais do que a ação física de ouvir a partir de artefatos sonoros portáteis, praticada pelos garotos e garotas que circulam pelo espaço urbano, caracterizar a escuta como prática social, prática de significação, portanto, prática cultural. Este estudo está inscrito no campo dos Estudos Culturais, adotando a etnografia pós-moderna e fotoetnografia como instrumentos teórico-metodológicos, operacionalizados através de observação e registros de conversas, diários de campo, diários fotográficos e acompanhamento de produtos midiáticos em circulação durante o período da sua produção. O trabalho de observação no campo foi desenvolvido em Porto Alegre (RS), de julho de 2007 a julho de 2011. Também foram realizadas oito entrevistas etnográficas com garotos e garotas que permaneceram ao longo do processo de pesquisa como colaboradores mais constantes, considerando a pluralidade do universo investigado. A análise desenvolvida mostra a produtividade das práticas de escuta a partir de artefatos sonoros portáteis sobre a produção de determinadas identidades juvenis e de um estilo de vida que tem a conectividade como característica mais forte. / This thesis – Tá Ligado?! Práticas de Escuta de Jovens Urbanos Contemporâneos e Panoramas Sonoros na Metrópole, uma Pauta para a Educação – aims to show and to understand the productivity of the contemporary uban youth listening practices from portable sound devices i te construction of youth identities and cultures. In this sense I seek to characterize the listening practices in this research, rather than the physical act of listening from such portable sound devices, practiced by boys and girls moving through the Porto Alegre city spaces, I characterize the listening practices as social practice, practice of signification, therefore, a cultural practice. The theoretical support of this study is found in the field of Cultural Studies, adopting the postmodern ethnography and photoethnography as theoretical and methodological tools. It had been operacionalized through field observation and conversations records, field notes, photographic narratives, and monitoring of media products in circulation during th period of the research production. The field observation had taken place in Porto Alegre (RS) from July 2007 to July 2011. I had also conducted ethnographic interviews with eight boys and girls who stayed throughout the research process as more constant collaborators, considering the plurality of the universe investigated. The analyzes show the productivity of the listening practices from portable sound devices on certain youth identities and cultures, and e production of a lifestyle that has connectivity as he strongest characteristic.

Esta tese – Tá Ligado?! Práticas de escuta de jovens urbanos contemporâneos e panoramas sonoros na metrópole, uma pauta para a Educação – tem como objetivo mostrar e compreender a produtividade das práticas de escuta de jovens urbanos contemporâneos a partir de artefatos sonoros portáteis na construção de identidades e culturas juvenis. Neste sentido busco caracterizar as práticas de escuta, mais do que a ação física de ouvir a partir de artefatos sonoros portáteis, praticada pelos garotos e garotas que circulam pelo espaço urbano, caracterizar a escuta como prática social, prática de significação, portanto, prática cultural. Este estudo está inscrito no campo dos Estudos Culturais, adotando a etnografia pós-moderna e fotoetnografia como instrumentos teórico-metodológicos, operacionalizados através de observação e registros de conversas, diários de campo, diários fotográficos e acompanhamento de produtos midiáticos em circulação durante o período da sua produção. O trabalho de observação no campo foi desenvolvido em Porto Alegre (RS), de julho de 2007 a julho de 2011. Também foram realizadas oito entrevistas etnográficas com garotos e garotas que permaneceram ao longo do processo de pesquisa como colaboradores mais constantes, considerando a pluralidade do universo investigado. A análise desenvolvida mostra a produtividade das práticas de escuta a partir de artefatos sonoros portáteis sobre a produção de determinadas identidades juvenis e de um estilo de vida que tem a conectividade como característica mais forte. / This thesis – Tá Ligado?! Práticas de Escuta de Jovens Urbanos Contemporâneos e Panoramas Sonoros na Metrópole, uma Pauta para a Educação – aims to show and to understand the productivity of the contemporary uban youth listening practices from portable sound devices i te construction of youth identities and cultures. In this sense I seek to characterize the listening practices in this research, rather than the physical act of listening from such portable sound devices, practiced by boys and girls moving through the Porto Alegre city spaces, I characterize the listening practices as social practice, practice of signification, therefore, a cultural practice. The theoretical support of this study is found in the field of Cultural Studies, adopting the postmodern ethnography and photoethnography as theoretical and methodological tools. It had been operacionalized through field observation and conversations records, field notes, photographic narratives, and monitoring of media products in circulation during th period of the research production. The field observation had taken place in Porto Alegre (RS) from July 2007 to July 2011. I had also conducted ethnographic interviews with eight boys and girls who stayed throughout the research process as more constant collaborators, considering the plurality of the universe investigated. The analyzes show the productivity of the listening practices from portable sound devices on certain youth identities and cultures, and e production of a lifestyle that has connectivity as he strongest characteristic.

abstract: Digital sound synthesis allows the creation of a great variety of sounds. Focusing on interesting or ecologically valid sounds for music, simulation, aesthetics, or other purposes limits the otherwise vast digital audio palette. Tools for creating such sounds vary from arbitrary methods of altering recordings to precise simulations of vibrating objects. In this work, methods of sound synthesis by re-sonification are considered. Re-sonification, herein, refers to the general process of analyzing, possibly transforming, and resynthesizing or reusing recorded sounds in meaningful ways, to convey information. Applied to soundscapes, re-sonification is presented as a means of conveying activity within an environment. Applied to the sounds of objects, this work examines modeling the perception of objects as well as their physical properties and the ability to simulate interactive events with such objects. To create soundscapes to re-sonify geographic environments, a method of automated soundscape design is presented. Using recorded sounds that are classified based on acoustic, social, semantic, and geographic information, this method produces stochastically generated soundscapes to re-sonify selected geographic areas. Drawing on prior knowledge, local sounds and those deemed similar comprise a locale's soundscape. In the context of re-sonifying events, this work examines processes for modeling and estimating the excitations of sounding objects. These include plucking, striking, rubbing, and any interaction that imparts energy into a system, affecting the resultant sound. A method of estimating a linear system's input, constrained to a signal-subspace, is presented and applied toward improving the estimation of percussive excitations for re-sonification. To work toward robust recording-based modeling and re-sonification of objects, new implementations of banded waveguide (BWG) models are proposed for object modeling and sound synthesis. Previous implementations of BWGs use arbitrary model parameters and may produce a range of simulations that do not match digital waveguide or modal models of the same design. Subject to linear excitations, some models proposed here behave identically to other equivalently designed physical models. Under nonlinear interactions, such as bowing, many of the proposed implementations exhibit improvements in the attack characteristics of synthesized sounds. / Dissertation/Thesis / Ph.D. Electrical Engineering 2013

Esta tese – Tá Ligado?! Práticas de escuta de jovens urbanos contemporâneos e panoramas sonoros na metrópole, uma pauta para a Educação – tem como objetivo mostrar e compreender a produtividade das práticas de escuta de jovens urbanos contemporâneos a partir de artefatos sonoros portáteis na construção de identidades e culturas juvenis. Neste sentido busco caracterizar as práticas de escuta, mais do que a ação física de ouvir a partir de artefatos sonoros portáteis, praticada pelos garotos e garotas que circulam pelo espaço urbano, caracterizar a escuta como prática social, prática de significação, portanto, prática cultural. Este estudo está inscrito no campo dos Estudos Culturais, adotando a etnografia pós-moderna e fotoetnografia como instrumentos teórico-metodológicos, operacionalizados através de observação e registros de conversas, diários de campo, diários fotográficos e acompanhamento de produtos midiáticos em circulação durante o período da sua produção. O trabalho de observação no campo foi desenvolvido em Porto Alegre (RS), de julho de 2007 a julho de 2011. Também foram realizadas oito entrevistas etnográficas com garotos e garotas que permaneceram ao longo do processo de pesquisa como colaboradores mais constantes, considerando a pluralidade do universo investigado. A análise desenvolvida mostra a produtividade das práticas de escuta a partir de artefatos sonoros portáteis sobre a produção de determinadas identidades juvenis e de um estilo de vida que tem a conectividade como característica mais forte. / This thesis – Tá Ligado?! Práticas de Escuta de Jovens Urbanos Contemporâneos e Panoramas Sonoros na Metrópole, uma Pauta para a Educação – aims to show and to understand the productivity of the contemporary uban youth listening practices from portable sound devices i te construction of youth identities and cultures. In this sense I seek to characterize the listening practices in this research, rather than the physical act of listening from such portable sound devices, practiced by boys and girls moving through the Porto Alegre city spaces, I characterize the listening practices as social practice, practice of signification, therefore, a cultural practice. The theoretical support of this study is found in the field of Cultural Studies, adopting the postmodern ethnography and photoethnography as theoretical and methodological tools. It had been operacionalized through field observation and conversations records, field notes, photographic narratives, and monitoring of media products in circulation during th period of the research production. The field observation had taken place in Porto Alegre (RS) from July 2007 to July 2011. I had also conducted ethnographic interviews with eight boys and girls who stayed throughout the research process as more constant collaborators, considering the plurality of the universe investigated. The analyzes show the productivity of the listening practices from portable sound devices on certain youth identities and cultures, and e production of a lifestyle that has connectivity as he strongest characteristic.