Periodic Reporting for period 1 - ACOUSTIC ATLAS (Acoustic Atlas: Cultivating the Capacity to Listen)
Reporting period: 2020-09-01 to 2022-08-31
The fellowship has two main aims. Firstly, to study the natural heritage of caves in the Yorkshire Dales in England, by focusing on the acoustical heritage and soundscapes of Dowkerbottom Cave and Ingleborough Cave. The importance of these caves is due to their archaeological, geological, and acoustic information. The acoustic characteristics are captured via state-of-the-art acoustic methodology and in turn, used for compelling virtual acoustic listening experiences and music compositions, a process bridging sonic archaeology with sound art. Through digital technologies, web visitors are able to hear the acoustics of a site remotely, in a process termed 'auralisation'. Secondly, the research includes the development of a novel web application called ‘Acoustic Atlas’ in which researchers from around the world are able to share their acoustic measurements making them available to wider audiences, who can experience spaces remotely. This application enables real-time auralisation of the voice and sounds of the user. Visitors to the site can sing or make other sounds, directly into virtual acoustic fingerprints of spaces, and instantly hear the reverberations and acoustic properties of the remote space as if they were there.
The importance of this project lies in its aim to cultivate our capacity to listen. As our lives extend and expand into the digital, it is crucial that listening as heritage is preserved as well. Acoustic Atlas aids in developing our digital ears and reminds us about the importance of the act and art of listening. Researchers in the field of heritage acoustics have advocated for the importance of acoustical studies and their historical, artistic, and spiritual value. However, heritage sites still prioritise dissemination through text and visual means, such as maps, 3D models, photographs, and videos. Where acoustic research is available, it is mostly published in text form through the analysis of objective acoustical parameters. For acoustic data, one can find impulse response (acoustic fingerprint) archives from which to create auralisations, but these are not accessible to the non-specialist. This limits the reach and interdisciplinary potential of this field, especially in the wider context of the digital humanities. An acoustic measurement is not just a recording of events in time and space, it is a recording of the sonic essence of an interior or exterior space. It is the essence of the sonic quality of a space that will become increasingly important in virtual reality design, game sound design, audio machine learning, and other future media. In addition to this, Acoustic Atlas turns acoustic data into material for composition and a point of departure for sound art exploration, allowing for the engagement with audiences with wider interests in an innovative approach to the dissemination of acoustical heritage.
The overall research objectives are to survey related work from various disciplinary angles; to conduct room impulse response (RIR) measurements in each cave; to make soundscape recordings; to develop the Acoustic Atlas web platform application; to compose musical pieces, to curate a series of virtual-acoustic sound art interventions; and to disseminate findings across academia, the heritage sector, and wider audiences. Project management objectives include site-specific planning for each cave and developing and implementing a strategy to grow the archive. Professional training objectives include advanced training on acoustic measurement techniques, immersive 3D audio recording, conservation ethics, archival procedures, and project management including research impact; training and development of experience in academic publication and lecturing; and career planning.
The importance of this project lies in its aim to cultivate our capacity to listen. As our lives extend and expand into the digital, it is crucial that listening as heritage is preserved as well. Acoustic Atlas aids in developing our digital ears and reminds us about the importance of the act and art of listening. Researchers in the field of heritage acoustics have advocated for the importance of acoustical studies and their historical, artistic, and spiritual value. However, heritage sites still prioritise dissemination through text and visual means, such as maps, 3D models, photographs, and videos. Where acoustic research is available, it is mostly published in text form through the analysis of objective acoustical parameters. For acoustic data, one can find impulse response (acoustic fingerprint) archives from which to create auralisations, but these are not accessible to the non-specialist. This limits the reach and interdisciplinary potential of this field, especially in the wider context of the digital humanities. An acoustic measurement is not just a recording of events in time and space, it is a recording of the sonic essence of an interior or exterior space. It is the essence of the sonic quality of a space that will become increasingly important in virtual reality design, game sound design, audio machine learning, and other future media. In addition to this, Acoustic Atlas turns acoustic data into material for composition and a point of departure for sound art exploration, allowing for the engagement with audiences with wider interests in an innovative approach to the dissemination of acoustical heritage.
The overall research objectives are to survey related work from various disciplinary angles; to conduct room impulse response (RIR) measurements in each cave; to make soundscape recordings; to develop the Acoustic Atlas web platform application; to compose musical pieces, to curate a series of virtual-acoustic sound art interventions; and to disseminate findings across academia, the heritage sector, and wider audiences. Project management objectives include site-specific planning for each cave and developing and implementing a strategy to grow the archive. Professional training objectives include advanced training on acoustic measurement techniques, immersive 3D audio recording, conservation ethics, archival procedures, and project management including research impact; training and development of experience in academic publication and lecturing; and career planning.
The project kicked off by conducting various surveys into related research, as well as academic training to understand the necessities specific to the fieldwork locations, acoustic measurement techniques, immersive 3D audio recording, conservation ethics, archival procedures, project management, impact, and dissemination. Fieldwork commenced conducting acoustic measurements (impulse response measurements) in Dowkerbottom and Ingleborough Caves. The fellow also recorded the soundscapes in and around the 2 measured caves, as well as Yordas Cave, Victoria Cave, and Salwicks Bay. The fellow developed the web audio application titled Acoustic Atlas, which launched midway through the fellowship. The fellow also worked on engaging with researchers in the field who, as part of the Acoustic Atlas community, shared their acoustic data to be added to the website, resulting in 37 unique virtual acoustic sites being added. The fellow composed 4 musical pieces using the acoustics of the researched caves as primary sonic material. The pieces are “Echoes of Our Ancestors”; “Ancient Rivers”; “Ether Echo”, and “Earth Echo.” Furthermore, the fellow curated and commissioned the 9 musical works for the Echoes and Reflections virtual acoustic art series which will be released on 15 December 2022. The compositions and the album include collaborations with Robyn Schulkowsky, Carmen Troncoso, Dorit Crysler, Juliana Venter, Natasha Barret, Sharon Phelan, Aurélie Ferrière, Rob Brinkworth, Nora van Tonder, and Victoria Keddie.
Dissemination included 3 peer-reviewed conference papers, 5 talks, and presentations, as well as lectures and news interviews. She also gained lecturing experience teaching undergraduate and postgraduate students, which included her work on the Acoustic Atlas project and related topics. She gave 6 guest lectures and shadowed her supervisor, Prof. Lopez, during sessions with doctoral researchers.
Dissemination included 3 peer-reviewed conference papers, 5 talks, and presentations, as well as lectures and news interviews. She also gained lecturing experience teaching undergraduate and postgraduate students, which included her work on the Acoustic Atlas project and related topics. She gave 6 guest lectures and shadowed her supervisor, Prof. Lopez, during sessions with doctoral researchers.
The project goals were met and exceeded expectations in terms of the web application and user visits. From June 2021-September 2022 there were 12,319-page clicks with a general user event count of 11 events per user. Some users stayed for 27 minutes. In terms of social Impact, the project made progress in its main aim to 'Cultivate the Capacity to Listen' and has been well received at festivals and conferences with continued invitations.