Sonic Rupture

Sonic Rupture applies a practitioner-led approach to urban soundscape design, which foregrounds the importance of creative encounters in global cities. This presents an alternative to those urban soundscape design approaches concerned with managing the negative health impacts of noise. Instead, urban noise is considered to be a creative material and cultural expression that can be reshaped with citywide networks of sonic installations. By applying affect theory the urban is imagined as an unfolding of the Affective Earth, and noise as its homogenous (and homogenizing) voice. It is argued that noise is an expressive material with which sonic practitioners can interface, to increase the creative possibilities of urban life. At the heart of this argument is the question of relationships: how do we augment and diversify those interconnections that weave together the imaginative life and the expressions of the land? The book details seven sound installations completed by the author as part of a creative practice research process, in which the sonic rupture model was discovered. The sonic rupture model, which aims to diversify human experiences and urban environments, encapsulates five soundscape design approaches and ten practitioner intentions. Multiple works of international practitioners are explored in relation to the discussed approaches. Sonic Rupture provides the domains of sound art, music, creative practice, urban design, architecture and environmental philosophy with a unique perspective for understanding those affective forces, which shape urban life. The book also provides a range of practical and conceptual tools for urban soundscape design that can be applied by the sonic practitioner.

The field of Sound Studies has changed and developed dramatically over the last two decades involving a vast and dizzying array of work produced by those working in the arts, social sciences and sciences. The study of sound is inherently interdisciplinary and is undertaken both by those who specialize in sound and by others who wish to include sound as an intrinsic and indispensable element in their research. This is the first resource to provide a wide ranging, cross-cultural and interdisciplinary investigation and analysis of the ways in which researchers use a broad range of methodologies in order to pursue their sonic investigations. It brings together 49 specially commissioned chapters that ask a wide range of questions including; how can sound be used in current academic disciplines? Is sound as a methodological tool indispensable for Sound Studies and what can sound artists contribute to the discourse on methodology in Sound Studies? The editors also present 3 original chapters that work as provocative 'sonic methodological interventions' prefacing the 3 sections of the book.

Sonic Rupture applies a practitioner-led approach to urban soundscape design, which foregrounds the importance of creative encounters in global cities. This presents an alternative to those urban soundscape design approaches concerned with managing the negative health impacts of noise. Instead, urban noise is considered to be a creative material and cultural expression that can be reshaped with citywide networks of sonic installations. By applying affect theory the urban is imagined as an unfolding of the Affective Earth, and noise as its homogenous (and homogenizing) voice. It is argued that noise is an expressive material with which sonic practitioners can interface, to increase the creative possibilities of urban life. At the heart of this argument is the question of relationships: how do we augment and diversify those interconnections that weave together the imaginative life and the expressions of the land? The book details seven sound installations completed by the author as part of a creative practice research process, in which the sonic rupture model was discovered. The sonic rupture model, which aims to diversify human experiences and urban environments, encapsulates five soundscape design approaches and ten practitioner intentions. Multiple works of international practitioners are explored in relation to the discussed approaches. Sonic Rupture provides the domains of sound art, music, creative practice, urban design, architecture and environmental philosophy with a unique perspective for understanding those affective forces, which shape urban life. The book also provides a range of practical and conceptual tools for urban soundscape design that can be applied by the sonic practitioner.

This thesis adopts the relative back-projection method to dramatically reduce “swimming” artifacts by identifying the rupture fronts in the time window of a reference station; this led to a faster and more accurate image of the rupture processes of earthquakes. Mitigating the damage caused by earthquakes is one of the primary goals of seismology, and includes saving more people’s lives by devising seismological approaches to rapidly analyze an earthquake’s rupture process. The back-projection method described in this thesis can make that a reality.

Urban Roar argues for the existence of 'autonomous affectivities' that roar beneath the din of the urban, seeking the attention of us humans so captured by the environments of our own making. In hearing the urban roar, it is the mythic intention of this book to discover ways in which we can work with the intensities of more-than-human forces to vitalize our cities. The book explores methods by which artists, particularly those sound artists involved in fieldwork practices, might encounter and translate autonomous affectivities between different environments. Of particular interest is Jung's concept of synchronicity and its relationship to artistic creation – as experience, flow and catalyst – in manifesting autonomous affectivities into diverse and affective environments. The book makes use of both theoretical and practical approaches: from a study of scholarship through which it is argued that an autonomous affectivity is equivalent to an archetype (via Jung) and an essence (via Deleuze's reading of Spinoza), to theoretical considerations of the situated body in everyday contexts, to practical study of an artistic research experiment designed to reveal and index autonomous affectivities encountered during fieldwork practices, for the purpose of influencing urban design interventions. In this fresh analysis, Lacey reveals the possibilities in urban environments.

This volume examines the synthesizer’s significance for music and culture, with a range of contributors providing historical, musicological, practical and theoretical perspectives. The synthesizer as an instrument has evolved rapidly over the last 50 years, conveying different meanings in musical culture at various times in its history. For example, post-punk and new wave acts used synths to signify their embrace of futurism and modernity. Earlier psychedelic bands used the instrument to sonically represent mind expansion while prog acts signposted their lineage to the classical avant-garde. Techno artists used synths to escape the strictures of acoustic music in parallel with rave culture’s desire for escapism from the mundanity of daily existence. It is now seemingly ubiquitous in modern pop music production.

Extreme Environmental Events is an authoritative single source for understanding and applying the basic tenets of complexity and systems theory, as well as the tools and measures for analyzing complex systems, to the prediction, monitoring, and evaluation of major natural phenomena affecting life on earth. These phenomena are often highly destructive, and include earthquakes, tsunamis, volcanoes, climate change,, and weather. Early warning, damage, and the immediate response of human populations to these phenomena are also covered from the point of view of complexity and nonlinear systems. In 61 authoritative, state-of-the art articles, world experts in each field apply such tools and concepts as fractals, cellular automata, solitons game theory, network theory, and statistical physics to an understanding of these complex geophysical phenomena.

This complete revision of Applied Process Design for Chemical and Petrochemical Plants, Volume 1 builds upon Ernest E. Ludwig’s classic text to further enhance its use as a chemical engineering process design manual of methods and proven fundamentals. This new edition includes important supplemental mechanical and related data, nomographs and charts. Also included within are improved techniques and fundamental methodologies, to guide the engineer in designing process equipment and applying chemical processes to properly detailed equipment. All three volumes of Applied Process Design for Chemical and Petrochemical Plants serve the practicing engineer by providing organized design procedures, details on the equipment suitable for application selection, and charts in readily usable form. Process engineers, designers, and operators will find more chemical petrochemical plant design data in: Volume 2, Third Edition, which covers distillation and packed towers as well as material on azeotropes and ideal/non-ideal systems. Volume 3, Third Edition, which covers heat transfer, refrigeration systems, compression surge drums, and mechanical drivers. A. Kayode Coker, is Chairman of Chemical & Process Engineering Technology department at Jubail Industrial College in Saudi Arabia. He’s both a chartered scientist and a chartered chemical engineer for more than 15 years. and an author of Fortran Programs for Chemical Process Design, Analysis and Simulation, Gulf Publishing Co., and Modeling of Chemical Kinetics and Reactor Design, Butterworth-Heinemann. Provides improved design manuals for methods and proven fundamentals of process design with related data and charts Covers a complete range of basic day-to-day petrochemical operation topics with new material on significant industry changes since 1995.