Skapandet av spatialiserade ljudböcker är idag inte gynnsamt för företag då det tar för lång tid att skapa, och företag ofta förhåller sig till en allt för snar deadline. För att förenkla processen och för att skapa ett tydligt arbetssätt att utgå ifrån, kommer denna artikel att behandla skapandet av en användbar arbetsprocess för skapandet av spatiala ljudböcker. Artikeln behandlar olika teorier som kan gynna skapandet av ljudmiljön, och presenterar även ett förslag för hur man på bästa sätt lägger upp skapandeprocessen. Denna uppsats pekar på att en arbetsprocess för detta hade varit användbart, speciellt för folk i branschen som inte är så vana vid att skapa spatialiserade ljudböcker. Artikeln undersöker om skapandet av en arbetsprocess för spatialiserade ljudböcker kommer att underlätta för företag att återskapa processen. Detta hoppas kunna leda till att fler spatialiserade ljudböcker blir till, att det blir ett vanligare koncept, samt att företag ska kunna producera dessa enklare. / The making of spatialized audiobooks is not favorable for companies today as it takes too long to create, and companies often relate to an all too prompt deadline. To make the process easier and to create a clear working process to proceed from, this article will approach the making of a useful work process for the creation of spatial audiobooks. This article deals with various theories that can benefit the creation of the sound environment/ambience, and also presents a proposal for how to best set up the creation process. This article points out that a work process for this could be useful, especially for people in the industry who are not so used to creating spatialized audiobooks. The article investigates whether the creation of a work process for spatialized audiobooks will facilitate companies to recreate the process. It is hoped that this will lead to more spatialized audiobooks being created, that it will become a more common concept, and that companies will be able to produce these more easily.

Mémoire en recherche-création / L’expérience sonore immersive est souvent associée à la spatialisation du son. Mais, le phénomène d’immersion est plutôt complexe et le réduire au seul emploi d’un dispositif technique ne permet pas d’en apprécier les causes multiples sur le plan de la réception. Ce mémoire présente un projet de recherche-création intitulé Cathédrales, dont l’objectif est de mieux comprendre la réception d’une œuvre de musique acousmatique spa- tialisée en 3D et intentionnellement immersive. Ce travail porte notamment sur les stratégies de composition adoptées et leurs effets, au regard des intentions de départs et de l’analyse des commentaires émis par un ensemble d’auditeurs-participants. Les trois premiers chapitres présentent les aspects conceptuels soutenant la démarche de création des œuvres Ville Aux Cent Clochers et Réverbérence. Le premier chapitre vise à préciser d’entrée de jeu ce que signifie l’immersion sonore, de sa compréhension plus générale jusqu’à ses significations plus particulières; le deuxième chapitre présente ensuite l’immersion sous l’angle d’une narratologie naturelle de la musique; tandis que le troisième chapitre intègre cette approche narrative au langage du cinéma pour l’oreille et adapte le tout au contexte multidirectionnel du médium de diffusion sonore. Les deux parties qui composent l’œuvre Cathédrales : I. Ville Aux Cent Clochers et II. Réverbérence, sont présentées au quatrième chapitre. Après avoir introduit le propos de l’œuvre dans son ensemble, les intentions et les stratégies spécifiques à chacune de ces pièces y sont également développées. Enfin, le cinquième chapitre présente les résultats de deux études de réception, impliquant un certain nombre d’auditeurs, sur l’écoute de musiques spatialisées pour dôme de haut-parleurs. L’analyse esthésique découlant de ces enquêtes permet de proposer différentes catégories conceptuelles de l’expérience sonore immersive. Ces catégories peuvent éventuellement servir à schématiser les effets de certaines stratégies de composition, combinées à l’emploi d’un dispositif technologique particulier, sur la réception d’une musique spatialisée en 3D. / The immersive sound experience is often associated with sound spatialization. But the immersive phenomenon is rather complex and reducing it to the sole usage of a technical device does a disservice to our appreciation of its multiple causes in terms of a work’s reception. This memoir presents a research-creation project, entitled Cathédrales, that aims to better understand the reception of an intentionally immersive 3Dspatialized acousmatic music. This work focuses on the adopted compositional strategies and their effects, with regard to initial intentions and the analysis of comments made by listener participants. The first three chapters present the concepts underlying the creative process for the works Ville Aux Cent Clochers ("City of a hundred bell towers") and Réverbérence ("Reverberence"). The first chapter clarifies the meaning of sound immersion from the outset, from its more general understanding to its more specific meanings; the second chapter then presents immersion under the scope of a natural narratology of music; while the third chapter integrates such narrative approach within the language of a "cinema for the ear", while adapting it to the multidirectional context of the sound diffusion medium. In the fourth chapter are presented the two parts composing Cathédrales ("Cathedrals") : I. Ville Aux Cent Clochers and II. Réverbérence. After introducing the concept of the work as a whole, the intentions and strategies that are more specific to each part of the work are then exposed. Finally, the fifth chapter presents the results of two case studies on the reception behaviors of multiple participants listening to spatialized music over a loudspeakers dome. Aesthesic analysis arising from these surveys allows to provide different conceptual categories of the immersive sound experience. Such categorization may eventually serve to schematize the effects of certain compositional strategies, in combination with the usage of a particular technological device, on the reception of 3D spatialized music.

The histories of acoustic ecology, field recording, and soundscape composition are intertwined. This combination of disciplines has lead to the potential for powerful insights, but an over-emphasis on music composition using recorded sound has to led to some problematic tendencies in the study of soundscapes. I begin by tracing the development of acoustic ecology and related disciplines, leading to a proposal for a practice of acoustic ecology that centers the study of all sounds from an ecological perspective and incorporates the insights of creative practices. I include the results and data from my acoustic surveys in Patagonia, Iceland, and Texas. These three locations are varied in their climate, and they are all threatened by noise pollution or human interference from one source or another. Each survey plots out the daily sound activity in a given location and then includes information such as decibel level and the amount of anthropogenic noise. Using the field recordings from my acoustic surveys, I composed a non-linear piece, Resonance Ecology, that generates soundscapes by combining sounds from different locations based on connections such as geography or weather patterns. There is also the option for acoustic performers to perform alongside the electronics, creating an unpredictably evolving soundscape. The structure of the piece mirrors the ecosystems that serve as the foundation and inspiration of the piece. Importantly, the composition is not meant to represent the real ecosystems, but rather serves as an surreal ecosystem portraying my experience in these locations.

The classical search engine result page is used for many interactions with search results. While these are effective at communicating relevance, they do not present the context well. By giving the user an overview in the form of a spatialized display, in a domain that has a physical analog that the user is familiar with, context should become pre-attentive and obvious to the user. A prototype has been built that takes public medical information articles and assigns these to parts of the human body. The articles are indexed and made searchable. A visualization presents the coverage of a query on the human body and allows the user to interact with it to explore the results. Through usage cases the function and utility of the approach is shown.