In a sonic environment, it’s difficult to determine where “interiority” ends and “exteriority” begins. The seven papers constitute an investigation into how sound affects us, and what sound means to us. Lastly, paper G discussed how crossmodal correspondences facilitated creation of meaning in music by infusing ecologically founded sonification parameters with visual and spatial metaphors. Analysis of questionnaire data revealed perceptual and crossmodal effects. This investigation was pursued in Paper F where a taxonomy of sound sources was developed. Paper E charted relations between acoustic, physical, and perceptual features, focussing on designable elements and materials. Field surveys and acoustic measurements were carried out in restaurants. A mixed method approach supported an emotion mediation hypothesis, evidenced in regression models and participant interviews. A response interface employing CIE Lab colour space, a novelty in music emotion research, was developed. Crossmodal correspondence was central in paper C, a study of colour association with music. Sound reproduction quality was manipulated in paper D, causing two effects on source localisation which were explained by spatial and semantic crossmodal correspondences. Perceived quality was predicted not only by psychoacoustic descriptors but also personality traits. Paper B evaluated soundscapes of different type. Analysis of results from an experiment revealed correlations between acoustic features and physiological indicators of stress and relaxation. In paper A, urban soundscapes were reproduced in a 3D installation. The main tools to investigate the mediating relationship of people and environment through sound have been empiricism and psychophysics. The present work has been guided by principles of systematicity, ecological validity, complementarity of methods, and integration of science and art. Since sensory processing is inherently multimodal, research in sound is necessarily multidisciplinary. This dissertation is about sound in context. This paper describes the artistic background to the project, outlines the stages, and focuses on the design and implementation of the Locust Wrath client app. In two multimedia performances, the audience members’ iPhones were employed ad hoc to constitute a large auditory display. We developed a system for spatialized sonification of data using a server-client model with iOS devices. The Locust Wrath project has evolved in stages: first, as surround sonifications of climate data for a multimedia dance performance then, as a frontal display sound installation and as material in a live performance of ‘musical’ interactive sonification and recently, as an audience participator work. However, there are few if any examples where these two approaches are combined. Multichannel sonification has been found to successfully represent data describing kinematic phenomena. Mobile devices have been used in soundscape installations and performances over the past decade or longer, often to emphasize social interaction.
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