Cycling’s Sensory Strategies: How Cyclists Mediate their Exposure to the Urban Environment

In this article, we focus on the many ways cyclists mediate their sensory exposure to the urban environment. Drawing on research in Hull, Hackney and Bristol during 2010 and 2011 for the Cycling Cultures research project, we describe a range of ‘sensory strategies’ enrolled by cyclists. Our research reveals how sensory strategies, such as using mobile audio devices, involve deliberate and finely tuned practices shaped by factors such as relaxation, motivation and location. This presents a contrast to media representations of the ‘iPod zombie cyclist’ who, plugged into a mobile audio device, lumbers insensitively and dangerously through the urban landscape. The article complicates the idea that sensory practices of listening and not-listening are two fixed and distinct ways of being in the urban environment. We suggest that considering the sensory strategies of cyclists opens up a new terrain for thinking about less easily represented, uncertain and fleeting intersections of mobility, place and the senses. Ultimately, we argue that an analysis of cycling’s sensory strategies might enrich our understanding of mobility cultures by operating to reconnect a range of mobile citizens with the broader messy and less easily controllable sensory landscape. This has implications both for understanding cycling as a sensory practice and for thinking about how the sensory dimensions of other mobile practices are shaped by practitioners

Litmag 1990-91

Litmag is a student-run literary magazine published annually each spring through the English Department. Our purpose is to promote the creative work of students and staff and increase awareness of the ever-present literary talent on UMSL’s campus. We aim to produce a high quality journal that gives emerging writers and artists a venue to display their work and experience the world of professional publishing.https://irl.umsl.edu/litmag/1013/thumbnail.jp

Musical Cities

Musical Cities represents an innovative approach to scholarly research and dissemination. A digital and interactive 'book', it explores the rhythms of our cities, and the role they play in our everyday urban lives, through the use of sound and music. Sara Adhitya first discusses why we should listen to urban rhythms in order to design more liveable and sustainable cities, before demonstrating how we can do so through various acoustic communication techniques. Using audio-visual examples, Musical Cities takes the ‘listener’ on an interactive journey, revealing how sound and music can be used to represent, compose, perform and interact with the city. Through case studies of urban projects developed in Paris, Perth, Venice and London, Adhitya demonstrates how the power of music, and the practice of listening, can help us to compose more accessible, inclusive, engaging, enjoyable, and ultimately more sustainable cities

Musical Cities

Musical Cities represents an innovative approach to scholarly research and dissemination. A digital and interactive 'book', it explores the rhythms of our cities, and the role they play in our everyday urban lives, through the use of sound and music. Sara Adhitya first discusses why we should listen to urban rhythms in order to design more liveable and sustainable cities, before demonstrating how we can do so through various acoustic communication techniques. Using audio-visual examples, Musical Cities takes the ‘listener’ on an interactive journey, revealing how sound and music can be used to represent, compose, perform and interact with the city. Through case studies of urban projects developed in Paris, Perth, Venice and London, Adhitya demonstrates how the power of music, and the practice of listening, can help us to compose more accessible, inclusive, engaging, enjoyable, and ultimately more sustainable cities

Ensounded bodies, making place in London's East End

En aquest projecte, estic investigant la relació entre el so urbà i fer lloc a l'Est de Londres. Exploro com 'ensounding' el nostre cos (Ingold 2007) i una escolta participativa del so urbà pot posar el nostre cos emocional i sensorial al primer pla de la nostra experiència urbana. Examino la unió entre les discussions sobre lloc, emoció i so urbà, posant el 'cos sentient' com a pivot articulant-les des del seu centre. Els sentits són una manera important d'adquirir informació, de desxifrar els significats que es despleguen al nostre voltant a través de miríades de manifestacions. Per tant, argumento per a una metodologia sensorial que permeti fer una cartografia de la ciutat que creix des dels cossos cap enfora i també per a la seva fluïdesa. Una metodologia inclusiva que convidi a realçar la permeabilitat de les membranes al voltant dels Estudis Urbans i a incloure als sentits dins el que es considera recerca acadèmica.En este proyecto, investigo la relación entre el sonido urbano y hacer lugar en el Este de Londres. Exploro como el 'ensounding' de nuestro cuerpo (Ingold 2007) en conjunto con una escucha participativa puede situar nuestro cuerpo emocional y sensorial en el primer plano de nuestra experiencia urbana. Examino la unión entre las discusiones sobre lugar, emoción y sonido urbano, poniendo el 'cuerpo que siente' como el pivote central que las articula. Los sentidos son una forma importante de adquirir información, de descifrar los significados que se despliegan a nuestro alrededor a través de una multitud de manifestaciones. Por lo tanto, argumento por una metodología sensorial que permita hacer una cartografía de la ciudad que crezca desde nuestros cuerpos hacia el exterior y también por su fluidez. Una metodología inclusiva que invite a realzar la permeabilidad de las membranas alrededor de los Estudios Urbanos y a incluir los sentidos dentro de lo que se considera investigación académica.In this research, I investigate the relationship between the urban soundscape and the making of place in London's East End. I explore the ways in which ensounding our bodies (Ingold 2007) and listening participatively to the soundscape can bring our sensuous and emotional bodies back to the forefront of our urban experience. In doing so, I examine the junction between the discussion around place, emotion and the soundscape, placing the sensuous body at its centre as its articulating pivot. The senses are an important way of gathering information, of deciphering the meanings that unfold around us through a myriad of different manifestations. Therefore, I am arguing for a sensuous methodology for the making of a cartography of the city, growing from the bodies outwards and for this methodology to be as fluid as sound can be. An inclusive methodology that, in turn, will enhance the permeability of the membranes around Urban Studies and invite the senses into what is considered a scholar way of researching

Middle-class Christ is the Answer Ministries (CITAM) and the urban poor : a study of community action with recommendations

https://place.asburyseminary.edu/ecommonsatsdissertations/1385/thumbnail.jp

Aural Landscape Composing an Urban Park

As a culture, the Western World has placed a negative stigma on noise, which has lead to the disregard of the urban soundscape. Researchers have been studying and theorizing ways of understanding the urban sound environment for many years, adding to the knowledge of listening. This thesis aims as a whole to act as a general tool to educate the public on the urban sound environment to aid in discriminate listening. Building on existing research, studies and theories on the urban sound environment it explores the cities inventory of sound possibilities from a psychological, sociological and architectural point of view and asks: what are the forms of constructed space that shape the sound opportunities of our urban environment? Based on a review of the literature of soundscapes, aural architecture and sound waves and the exploration of precedents that explore sound installations and transcoding, multidisciplinary experiments were conducted involving sound, using quantitative tools such as acoustical software, frequency spectrums, soundclips, physical models, listening exercises, cymatics and mathematics. Findings from the experiments demonstrated new relationships between the urban sound environment and musical composition techniques. This resulted in a final design study of Washington Square Park using a stochastic methodology from both an architect’s and composer’s point of view, resulting in a synthesis of layering that demonstrates the cultivation of previous research adding to the body of knowledge of our urban sound environments. Further reflection is done in the form of an essay on how sound research impacted the author’s psychological and sociological view not only as a designer but as a listener. This essay is a testimony to the significance of shifting our culture’s aural behaviour and encouraging continued research into our urban soundscapes

Which Helpless Nature Drops When Pushed Upon a Scene : readymade i antropocen

Masteroppgave kunstfag- Universitetet i Agder, 201