Maladie de Freiberg

Augoyard, R.; Augoyard, M.

doi:10.1016/b978-2-294-73893-7.00014-8

Cited by 3 publications

(8 citation statements)

References 22 publications

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“…In 1978, an exploratory study was carried out 9 , questioning the dwelling practices through sound phenomena and reproducing a modal approach from this new field of study. This research report is unfortunately little known 10 but essential, and it operates in a way the passage from Step-by-step to the future works on sound.…”

Section: The Ordinary Of Soundmentioning

confidence: 99%

“…The foundations of a background research work on the ordinary situated sound experience were set. They came to fruition later with other research works and different themes: exploratory research on the concept of sound effect, opening up to a broadened interdisciplinary approach 12 , research on sound environment and interpersonal communication, questioning the immanence of sociality 13 , research on the production of the sound environment, asserting the importance of listening attitudes and ways of sounding 14 , research on information sources regarding neighbourhood noise, questioning the idea that "the noise is the other" 15 , research on the sensorial factors of the sense of insecurity, testing both the sound and light aspects 16 . Always strengthened by field data and interdisciplinary empirical investigations, these studies, forerunners to Sound studies, definitely anchor the theoretical and epistemological position implemented at CRESSON.…”

Section: The Ordinary Of Soundmentioning

confidence: 99%

“…No fewer than around sixty sound effects were recorded and described in an interdisciplinary way, offering a sound grammar of constituents regarding our everyday listening. Halfway between the sound object and the soundscape 19 , the concept of sound effect represents the cornerstone of the whole body of work regarding sound, as well as the bond of a shared culture within the team.…”

Section: The Ordinary Of Soundmentioning

confidence: 99%

“…To that end, secondly, Jean-François Augoyard introduces the theme of urban walks 5 within the observation of dwelling conducts. He initiates a set of works that will be developed at a later stage.…”

mentioning

confidence: 99%

“…8 This new research orientation is also possible by the implementation of an original investigatory mechanism, which gives their rightful place to the description, narrative and memory of the future. The creation of the "narrative conduct" (conduite de récit) 7 -a method that articulates language expression and wandering practices -also has an essential role in the empirical testing of the pathway rhetoric. It also initiates a set of methodological innovations that, from then on, will continuously appear in Jean-François Augoyard and the CRESSON team's investigations (we will go back to this question regarding studies dedicated to the sound environment).…”

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confidence: 99%

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Jean-François Augoyard, an explorer of the sensory world

Thibaud¹

2020

ambiances

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is senior researcher at CNRS (France). After studying philosophy (research on Giordano Bruno), aesthetics and musicology (Conservatoire National of Lyon and Gregorian Institute), he started teaching in the French national education system. He then carried out his doctorate in urban studies and practiced urban planning in Paris. In 1975, he started a new path as a researcher in urban sociology and environmental anthropology, while he continued teaching in several universities (Vincennes, Paris VI, Grenoble 2), and at the Graduate School of Architecture of Grenoble since 1976. In collaboration with Jean-Jacques Delétré, he created the Centre de recherche sur l'espace sonore (CRESSON-https://aau.archi.fr/ cresson) in 1979. Along with Jean-Pierre Peneau, he also created the Ambiances architecturales et urbaines Joint Research Unit (UMR-CNRS/Ministry of Culture) in 1998. He is co-director of a French doctoral programme on architectural and urban ambiances. Moreover, Jean-François Augoyard edited the "Ambiance, ambiances" collection for the A la Croisée Editions (9 books). 2 His main studies revolve around the perception of space and social conducts in the city, around the interdisciplinary methodology of the sensory environment (sound, light, smells), around the theory of architectural and urban ambiances and around the aesthetic experience in an urban milieu 1. In France or abroad, he is an expert and member of several scientific or academic committees on the urban environment, landscape, public space and on the relations between art and city. Jean-François Augoyard, an explorer of the sensory world Ambiances , Redécouvertes

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Section: The Ordinary Of Soundmentioning

confidence: 99%

Section: The Ordinary Of Soundmentioning

confidence: 99%

Section: The Ordinary Of Soundmentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

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Jean-François Augoyard, an explorer of the sensory world

Thibaud¹

2020

ambiances

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Do I Get a Say in This? Environmental Sound Composition, the Phonograph and Intentionality

Voyce¹

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<p>Environmental sound composition, a term I employ to describe all forms of electroacoustic works in which the core materials are abstracted from real environments through technology, has been practiced in a variety of forms for more than 50 years. A tension exists between environmental sound composition and western art music, one that continues to make this marriage uncomfortable. In short, the use of mimetic materials in environmental sound composition does not fit the prescriptions of formalism, an ideology that electroacoustic composition inherited from western art music. Though attempts have been made to lessen this tension (Emmerson, 1986 and Smalley, 1996), an underlying anxiety persists in environmental sound composition, as the twin legacy of Pierre Schaeffer’s ideas concerning musique concrète and the concerns of acoustic ecology, a movement championed by soundscape composers (Westerkamp, 2002), continues to influence the genre. Recently there has emerged an increasing resistance to the didactic ideology of soundscape theory in particular, as exemplified by Lopez (1997), Ingold (2007) and Kelman (2010). However, soundscape theory continues to influence the production of environmental sound composition, as composers seek to align themselves with such concerns, or place themselves in opposition to them. In my view, the tension between formalism and mimesis has resulted in a widespread fixation on poietic intent in environmental sound composition. As a result, composers have tried to dictate how their works should be heard, while ignoring the complexity of listener response. While a number of fresh perspectives have arisen in recent years looking at environmental sound composition methodology and the role of esthetic analysis in such works, including Voegelin (2010) and Lane and Carlyle (2013), a rigorous investigation into the roles of intentionality, technology and hermeneutic analysis in the production and reception of environmental sound composition remains absent. My thesis explores the nature of the phonograph (an audio recording) and phonography (the act of recording) in broad terms, and then with specific attention to environmental sound composition. Various recording genres and phonograph types associated with these genres are identified, while the attitudes of composers towards technology and the ontological nature of their works are investigated. This approach is applied in making a critical assessment of environmental sound composition, exposing the specificity of the rift between poietic intention and esthetic reception. I argue for a hermeneutic evaluation of the phonograph on similar terms as those set out by Roland Barthes in Camera Lucida (1981). In examining the temporal dimensions of the phonograph, along with its formal and affective traits, my research aims to elevate the phonograph from the role of a passive bearer of composer intentionality, to that of a primary contributor to the listening experience. With this aim in mind, I present a portfolio of creative works as a second volume to this thesis, born of the ideas discussed herein, which explore the nature of the phonograph, its temporalities, the site specific aspects of phonography and compositional intervention with the phonograph. I will refer to my works throughout this thesis, detailing how I have incorporated my theoretical concerns into my compositional practice, especially in chapter four, five and six.</p>

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On the Formation Mechanisms of Adhering Layer during Machining Metal Material

Song

Takahashi

et al. 2017

KEM

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Built-up Layer (BUL)/Built-up Edge (BUE) formed on the tool surface can be treated as a protective, thermal barrier or lubricant films especially in the extreme severe conditions when machining the metal materials, which can sustain the tool effective and wear resistance. In order to have a thorough understanding of the adhesion effect during machining, experiments have been carried out to investigate the performance and the formation mechanisms of adhering layer on the carbide tool in machining of aluminium alloys A6063, carbon steel S45C and difficult-to-cut hardened steel S45C (H-S45C). The morphology of tool adhered surface was examined by employing Scanning Electron Microscopy (SEM), the dimensions of adhering layer were measured by Laser Scanning Microscopy (LSM) and the elements on the tool were analyzed by Electron Probe Micro Analyser (EPMA), respectively. The atomic-scale cluster adhesive friction model is proposed to explain the tool-chip contact conditions, which considers the nature of the shear strain, shear strain rate and temperature distribution in the secondary deformation zone. The model is a dynamic model and the rate equation approach can be applied to estimate the formation process of adhering layer during machining. Results have shown that the adhering layer will give rise to BUL on the tool rake face and the BUE on the cutting edge and clearance face.

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Maladie de Freiberg

Cited by 3 publications

References 22 publications

Jean-François Augoyard, an explorer of the sensory world

Jean-François Augoyard, an explorer of the sensory world

Do I Get a Say in This? Environmental Sound Composition, the Phonograph and Intentionality

On the Formation Mechanisms of Adhering Layer during Machining Metal Material

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