Acoustic Space

Starting from McLuhan’s concept of acoustic space, the author discusses how the World Soundscape which he undertook at Simon Fraser University in 1970 set out to put this notion into practice by studying how the soundscape influences all aspects of people’s lives. In the extract published here, the author finds that the sphere is the geometric shape which best describes acoustic space, and discusses the sybolism of the sphere – and of sound – in the cultures of the world.Partant du concept d’espace acoustique chez McLuhan, l’auteur explique comment le « World Soundscape Project » qu’il a mené à la Simon Fraser University en 1970 a mis en pratique cette idée en vérifiant que des changements dans le paysage sonore influent sur tous les aspects de la vie des gens. Dans l’extrait reproduit ici, l’auteur choisit la sphère comme étant la forme géometrique qui décrit le mieux l’espace acoustique, et commente la symbolique de la sphère – et du son – dans les cultures du monde

Eco-Theatre

Born in Sarnia, Ontario, in 1933, and widely considered Canada’s leading living composer, Raymond Murray Schafer is also a librettist, educator, writer, and “soundscape” theorist. Schafer composes for symphonies as well as chamber orchestras, solo instruments (he has even composed a piece for snowmobile), and vocalists. His compositions have played throughout the world. Schafer’s operatic cycle Patria—a masterwork almost forty years in the making—consists of ten episodes, plus a prologue and an epilogue. The prologue The Princess of the Stars and epilogue And Wolf Shall Inherit the Moon (also known as the Wolf Project) comprise an eco-theatre where Schafer places his opera in the Canadian wilderness, and the wilderness is, in turn, directly incorporated into the work. The “Wolf Project” is a week-long camping and performance venture that seeks to erase the line between life and art. R. Murray Schafer’s books include My Life on Earth and Elsewhere, Patria: The Complete Cycle, The Tuning of the World: Toward a Theory of Soundscape Design, Wolf Tracks, On Canadian Music, and Ear Cleaning: Notes for an Experimental Music Course. Schafer is married to Eleanor James, who was the leading mezzo-soprano at the City Opera of St. Gallen in Switzerland for six years, and then the leading mezzo-soprano at the Gartnerplatz Theatre in Munich, Germany for fourteen years. In 1983, James experienced the work of Murray Schafer, and they subsequently became frequent collaborators. I had the opportunity to speak first with Murray Schafer and then with Eleanor James at their home in Indian River, Ontario, on September 1 and 3, 2012

Sound archaeology: terminology, Palaeolithic cave art and the soundscape

This article is focused on the ways that terminology describing the study of music and sound within archaeology has changed over time, and how this reflects developing methodologies, exploring the expectations and issues raised by the use of differing kinds of language to define and describe such work. It begins with a discussion of music archaeology, addressing the problems of using the term ‘music’ in an archaeological context. It continues with an examination of archaeoacoustics and acoustics, and an emphasis on sound rather than music. This leads on to a study of sound archaeology and soundscapes, pointing out that it is important to consider the complete acoustic ecology of an archaeological site, in order to identify its affordances, those possibilities offered by invariant acoustic properties. Using a case study from northern Spain, the paper suggests that all of these methodological approaches have merit, and that a project benefits from their integration

‘The Rest is Silence’:Psychogeography, Soundscape and Nostalgia in Pat Collins’ Silence

Guy Debord defines the term psychogeography as 'the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals' (Debord 1955: 23). Similar to the belief of psychogeographers that the geography of an environment has a psychological effect on the human mind, proponents of acoustic ecology such as R. Murray Schafer hold that humans are affected by the sound of the environment in which they find themselves. Further to this, they examine the extent to which soundscapes can be shaped by human behaviour. Recently a body of Irish films has emerged that directly engages with the Irish soundscape and landscape on a psychogeographical level. Rather than using landscape as a physical space for the locus of action, these representations of the Irish landscape allow for an engagement with the aesthetic effects of the geographical landscape as a reflection of the psychological states of the protagonists. Bearing this in mind, this article examines how Silence (Collins 2012) arguably demonstrates the most overt and conscious incursion into this area to date. It specifically interrogates how the filmic representation of the psychogeography and soundscape of the Irish rural landscape can serve to express emotion, alienation and nostalgia, thus confronting both the Irish landscape and the weight of its associated history

Missing values: sparse inverse covariance estimation and an extension to sparse regression

We propose an l1-regularized likelihood method for estimating the inverse covariance matrix in the high-dimensional multivariate normal model in presence of missing data. Our method is based on the assumption that the data are missing at random (MAR) which entails also the completely missing at random case. The implementation of the method is non-trivial as the observed negative log-likelihood generally is a complicated and non-convex function. We propose an efficient EM algorithm for optimization with provable numerical convergence properties. Furthermore, we extend the methodology to handle missing values in a sparse regression context. We demonstrate both methods on simulated and real data.Comment: The final publication is available at http://www.springerlink.co

Dental practice satisfaction with preferred provider organizations

<p>Abstract</p> <p>Background</p> <p>Despite their increasing share of the dental insurance market, little is known about dental practices' satisfaction with preferred provider organizations (PPOs). This analysis examined practice satisfaction with dental PPOs and the extent to which satisfaction was a function of communications from the plan, claims handling and compensation.</p> <p>Methods</p> <p>Data were collected through telephone surveys with dental practices affiliated with MetLife between January 2002 and December 2004. Each respondent was asked a series of questions related to their satisfaction with a systematically selected PPO with which they were affiliated. Six different PPO plans had sufficient observations to allow for comparative analysis (total n = 4582). Multiple imputation procedures were used to adjust for item non-response.</p> <p>Results</p> <p>While the average level of overall satisfaction with the target plan fell between "very satisfied" and "satisfied," regression models revealed substantial differences in overall satisfaction across the 6 PPOs (p < .05). Statistically significant differences between plans in overall satisfaction were largely explained by differences in the perceived adequacy of compensation. However, differences in overall satisfaction involving two of the PPOs were also driven by satisfaction with claims handling.</p> <p>Conclusion</p> <p>Results demonstrate the importance of compensation to dental practice satisfaction with PPOs. However, these results also highlight the critical role of service-related factors in differentiating plans and suggest that there are important non-monetary dimensions of PPO performance that can be used to recruit and retain practices.</p