Horizontality: From "Window" to "Ground", Exploring Immersive Audiotory Space as an Interactive Participant Medium

My sound-based arts practice is currently concerned with the shift of focus from the materiality of the sonic art object to the conceptual and semantic dimensions involved in interaction within a system. The twentieth century saw the dawn of technologies that could not only mediate the sonic arts in new ways but also inform its techniques and tropes. Over the last few decades we have seen the emergence of the genres Transmission and Telematic Art, the methodology of both often being informed by new concepts of space. The rise of post-industrial Capitalism situates us in a new epoch of spatial awareness. This seems particularly relevant now that mediated sonic and communication technologies are an integral part of our lives. Transmitting media “punching a hole in space” now ignore acoustic container boundaries: a sound heard and its source can exist separately yet simultaneously. Physical location and distance become less relevant. How does this create a shift in how we perceive the spatial within the practice of living?; and 2. redefining concepts of author and audience. All who participate are involved in authorship creating a form that is impossible to mediate to a passive audience 5. My work explores how this situation and the aesthetics deriving from it inform me as a practitioner within the medium of sound: the generative and emergent behaviour that arises from relationship as a form of “composition” and, of particular interest to me, the desire to shift focus from the traditional role of sound as an object of aesthetic expression to immersive interactive auditory space as a means of entering into dialogue with the multidimensional environment which humanity inhabits

The application of Diffusive Gradients in Thin Films (DGT) for improved understanding of metal behaviour at marine disposal sites

Assessment of the effects of sediment metal contamination on biological assemblages and function remains a key question in marine management, especially in relation to disposal activities. However, the appropriate description of bioavailable metal concentrations within pore-waters has rarely been reported. Here, metal behaviour and availability at contaminated dredged material disposal sites within UK waters were investigated using Diffusive Gradient in Thin films (DGT). Three stations, representing contrasting history and presence of dredge disposal were studied. Depth profiles of five metals were derived using DGT probes as well as discrete analysis of total metal concentrations from sliced cores. The metals analysed were: iron and manganese, both relevant to sediment biogeochemistry; cadmium, nickel and lead, classified as priority pollutants. DGT time-integrated labile flux profiles of the metals display behaviour consistent with increasingly reduced conditions at depth and availability to DGT (iron and manganese), subsurface peaks and a potential sedimentary source to the water column related to the disposal activity (lead and nickel) and release to pore-water linked to decomposition of enriched phytodetritus (cadmium). DGT data has the potential to improve our current understanding of metal behaviour at impacted sites and is suitable as a monitoring tool. DGT data can provide information on metal availability and fluxes within the sediment at high depth-resolution (5 mm steps). Differences observed in the resulting profiles between DGT and conventional total metal analysis illustrates the significance of considering both total metals and a potentially labile fraction. The study outcomes can help to inform and improve future disposal site impact assessment, and could be complemented with techniques such as Sediment Profile Imagery for improved biologically relevance, spatial coverage and cost-effective monitoring and sampling of dredge material disposal sites. Additionally, the application of this technology could help improve correlative work on biological impacts under national and international auspices when linking biological effects to more biologically relevant metal concentrations

Horizontality : From "Window" to "Ground", Exploring Immersive Auditory Space as an Interactive Participant Medium : a thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Musical Arts in Composition, New Zealand School of Music

Disc with audio files available with hard copy in the library.My sound-based arts practice is currently concerned with the shift of focus from the materiality of the sonic art object to the conceptual and semantic dimensions involved in interaction within a system. The twentieth century saw the dawn of technologies that could not only mediate the sonic arts in new ways but also inform its techniques and tropes. Over the last few decades we have seen the emergence of the genres Transmission and Telematic Art, the methodology of both often being informed by: 1. new concepts of space. The rise of post-industrial Capitalism situates us in a new epoch of spatial awareness. This seems particularly relevant now that mediated sonic and communication technologies are an integral part of our lives. Transmitting media “punching a hole in space” now ignore acoustic container boundaries: a sound heard and its source can exist separately yet simultaneously. Physical location and distance become less relevant. How does this create a shift in how we perceive the spatial within the practice of living?; and 2. redefining concepts of author and audience. All who participate are involved in authorship creating a form that is impossible to mediate to a passive audience. My work explores how this situation and the aesthetics deriving from it inform me as a practitioner within the medium of sound: the generative and emergent behaviour that arises from relationship as a form of “composition” and, of particular interest to me, the desire to shift focus from the traditional role of sound as an object of aesthetic expression to immersive interactive auditory space as a means of entering into dialogue with the multidimensional environment which humanity inhabits

Horizontality: From "Window" to "Ground", Exploring Immersive Audiotory Space as an Interactive Participant Medium

My sound-based arts practice is currently concerned with the shift of focus from the materiality of the sonic art object to the conceptual and semantic dimensions involved in interaction within a system. The twentieth century saw the dawn of technologies that could not only mediate the sonic arts in new ways but also inform its techniques and tropes. Over the last few decades we have seen the emergence of the genres Transmission and Telematic Art, the methodology of both often being informed by new concepts of space. The rise of post-industrial Capitalism situates us in a new epoch of spatial awareness. This seems particularly relevant now that mediated sonic and communication technologies are an integral part of our lives. Transmitting media “punching a hole in space” now ignore acoustic container boundaries: a sound heard and its source can exist separately yet simultaneously. Physical location and distance become less relevant. How does this create a shift in how we perceive the spatial within the practice of living?; and 2. redefining concepts of author and audience. All who participate are involved in authorship creating a form that is impossible to mediate to a passive audience 5. My work explores how this situation and the aesthetics deriving from it inform me as a practitioner within the medium of sound: the generative and emergent behaviour that arises from relationship as a form of “composition” and, of particular interest to me, the desire to shift focus from the traditional role of sound as an object of aesthetic expression to immersive interactive auditory space as a means of entering into dialogue with the multidimensional environment which humanity inhabits.</p

Horizontality: From "Window" to "Ground", Exploring Immersive Audiotory Space as an Interactive Participant Medium

My sound-based arts practice is currently concerned with the shift of focus from the materiality of the sonic art object to the conceptual and semantic dimensions involved in interaction within a system. The twentieth century saw the dawn of technologies that could not only mediate the sonic arts in new ways but also inform its techniques and tropes. Over the last few decades we have seen the emergence of the genres Transmission and Telematic Art, the methodology of both often being informed by new concepts of space. The rise of post-industrial Capitalism situates us in a new epoch of spatial awareness. This seems particularly relevant now that mediated sonic and communication technologies are an integral part of our lives. Transmitting media “punching a hole in space” now ignore acoustic container boundaries: a sound heard and its source can exist separately yet simultaneously. Physical location and distance become less relevant. How does this create a shift in how we perceive the spatial within the practice of living?; and 2. redefining concepts of author and audience. All who participate are involved in authorship creating a form that is impossible to mediate to a passive audience 5. My work explores how this situation and the aesthetics deriving from it inform me as a practitioner within the medium of sound: the generative and emergent behaviour that arises from relationship as a form of “composition” and, of particular interest to me, the desire to shift focus from the traditional role of sound as an object of aesthetic expression to immersive interactive auditory space as a means of entering into dialogue with the multidimensional environment which humanity inhabits

Search for intermediate-mass black hole binaries in the third observing run of Advanced LIGO and Advanced Virgo

International audienceIntermediate-mass black holes (IMBHs) span the approximate mass range 100−105 M⊙, between black holes (BHs) that formed by stellar collapse and the supermassive BHs at the centers of galaxies. Mergers of IMBH binaries are the most energetic gravitational-wave sources accessible by the terrestrial detector network. Searches of the first two observing runs of Advanced LIGO and Advanced Virgo did not yield any significant IMBH binary signals. In the third observing run (O3), the increased network sensitivity enabled the detection of GW190521, a signal consistent with a binary merger of mass ∼150 M⊙ providing direct evidence of IMBH formation. Here, we report on a dedicated search of O3 data for further IMBH binary mergers, combining both modeled (matched filter) and model-independent search methods. We find some marginal candidates, but none are sufficiently significant to indicate detection of further IMBH mergers. We quantify the sensitivity of the individual search methods and of the combined search using a suite of IMBH binary signals obtained via numerical relativity, including the effects of spins misaligned with the binary orbital axis, and present the resulting upper limits on astrophysical merger rates. Our most stringent limit is for equal mass and aligned spin BH binary of total mass 200 M⊙ and effective aligned spin 0.8 at 0.056 Gpc−3 yr−1 (90% confidence), a factor of 3.5 more constraining than previous LIGO-Virgo limits. We also update the estimated rate of mergers similar to GW190521 to 0.08 Gpc−3 yr−1.Key words: gravitational waves / stars: black holes / black hole physicsCorresponding author: W. Del Pozzo, e-mail: [email protected]† Deceased, August 2020