The echolocation system of microchiroptera is only little impaired by acoustical interferences. Countermeasures to jamming by conspecific orientation pulses have been found in Rhinopoma hardwickei and Pipistrellus pipistrellus, which alter the frequency of the CF-search sounds when flying in groups ; Rhinopoma microphyllum increase the intensity of their FM-sounds. In many bat species an increase of sound energy can be observed in reaction to artificial noise. Rhinopoma microphyllum starts to respond at 50 dB SPL RMS broad band noise by raising sound pressure at a rate of ca 4 dB / 10 dB noise ; there are only minor changes in sound duration.Resume. -Les performances du Systeme d'echolocation des Microchiropteres ne sont que peu affectees par les brouillages acoustiques. On a mis en evidence chez Rhinopoma hardwickei et Pipistrellus pipistrellus des reactions de defense qui leur font, si elles volent en groupe, changer la frequence des cris CF quand elles sont perturbees par des cris dOrientation emis par la meme espece. Les Rhinopoma microphyllum augmentent 1'intensite de leur emission FM. Chez beaucoup d'especes de chauves-souris, on observe une augmentation de Penergie sonore emise lors du brouillage par un bruit artificiel. Rhinopoma microphyllum commence ä reagir pour un bruit large bände de 50 dB SPL RMS et augmente son emission a raison de 4 dB pour 10 dB de bruit ; il n'y a que peu de changement quant ä la duree des cris.
Keaton and the Masses:This article explores conflicts between individual and mass and the process of massification (i.e. the becoming and unfolding of masses) as comic potential in Buster Keaton’s physical comedies. This comic potential is basically characterized by a formalized and aestheticized reduction of human individuality when confronted with objective, non-human matter. De-individualization plays an important role in modern comedy in general. With his intense focus on massification, though, Keaton is not only one of the first, but also one of the most dedicated investigators of comic de-individualization by purely physical means.The first part of the article considers the complex relations in Keaton between gag and narrative with specific regard to the conflict between the individual and the masses. Furthermore, the basic compositional elements in Keaton’s cinematographic staging of individual-mass conflicts are explored, including deactivation and isolation of the individual in relation to his immediate surroundings.Subsequently, the different forms of massification in Keaton are examined more closely with reference to variation in their comic potential. Here, Keaton’s masses are grouped into three basic forms: In the solid mass—typically materialized in heavy objects and hard surfaces—the comic potential is due to its ability to violently tumble or jam the pacified individual into de-subjectified body mass. In the fluid mass, the comic potential is basically found in the unmanageable character of the soft, formless and constantly transforming phenomenon. In pure accumulation, Keaton focuses on the comic potential of the very formation of masses as a process of accumulation (i.e., the repetitive addition of discrete, more or less identical elements). Here, Keaton’s interest lies above all in the formation of human masses (crowds).The last section considers Keaton’s cinematographic distribution of individual gags on the global scale of the entire film. Here, it is analyzed how Keaton incessantly glues the individual gags together into one large and seamlessly continuous gag. It is thus concluded that not only is each individual gag characterized by massification, but the way the different gags are interrelated throughout Keaton’s films also has a profound mass character.
This article investigates the relation between signifying processes and non-signifying material dynamism in the installation Pulse Room (2006) by Mexican Canadian artist Rafael Lozano-Hemmer. In Pulse Room the sense of pulse is ambiguous. Biorhythms are transmitted from the pulsing energy of the visitor's beating heart to the flashing of a fragile light bulb, thereby transforming each light bulb into a register of individual life. But at the same time the flashing light bulbs together produce a chaotically flickering light environment composed by various layers of repetitive rhythms, a vibrant and pulsating ''room''. Hence, the visitor in Pulse Room is invited into a complex scenario that continuously oscillates between various aspects of signification (the light bulbs representing individual lives; the pulse itself as the symbolic ''rhythm of life'') and instants of pure material processuality (flickering light bulbs; polyrhythmic layers). Taking our point of departure in a discussion of Gilles Deleuze's concepts of modulation and signaletic material in relation to electronic media, we examine how the complex orchestration of pulsation between signification and material modulation produces a multilayered sense of time and space that is central to the sensory experience of Pulse Room as a whole. Pulse Room is, at the very same time, a relational subjectÁobject intimacy and an all-encompassing immersive environment modulating continuously in real space-time.
MUSIC AND DESIGN. PHIL SPECTOR AND SOUNDSCAPES MEDIATIZATIONPhil Spector is often referred to as one of history’s first true music producers, and his famed ‘Wall of Sound’ has been the model for many future musical productions. However, Spector’s productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musicalsound as something that depends primarily on a musical performance and secondarily its technical reproduction S towards a conception of music as a form of design. Hence, Spector’s productions make a favorable material for a more general investigation of the relationship between music and design. Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, the different aspects of Spector’s design have not yet been the subject of a broader phenomenological and aesthetic investigation. “Music and Design” explores the key elements in Spector’s musical project through an analysis of his use of repetition, accumulation and synthetized sound in hit recordings such as He’s a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from external media conditions, to musical sound as simultaneously a more synthetic and mediatized as well as moremassive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.
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