Sound archaeology: terminology, Palaeolithic cave art and the soundscape

This article is focused on the ways that terminology describing the study of music and sound within archaeology has changed over time, and how this reflects developing methodologies, exploring the expectations and issues raised by the use of differing kinds of language to define and describe such work. It begins with a discussion of music archaeology, addressing the problems of using the term ‘music’ in an archaeological context. It continues with an examination of archaeoacoustics and acoustics, and an emphasis on sound rather than music. This leads on to a study of sound archaeology and soundscapes, pointing out that it is important to consider the complete acoustic ecology of an archaeological site, in order to identify its affordances, those possibilities offered by invariant acoustic properties. Using a case study from northern Spain, the paper suggests that all of these methodological approaches have merit, and that a project benefits from their integration

‘The Rest is Silence’:Psychogeography, Soundscape and Nostalgia in Pat Collins’ Silence

Guy Debord defines the term psychogeography as 'the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals' (Debord 1955: 23). Similar to the belief of psychogeographers that the geography of an environment has a psychological effect on the human mind, proponents of acoustic ecology such as R. Murray Schafer hold that humans are affected by the sound of the environment in which they find themselves. Further to this, they examine the extent to which soundscapes can be shaped by human behaviour. Recently a body of Irish films has emerged that directly engages with the Irish soundscape and landscape on a psychogeographical level. Rather than using landscape as a physical space for the locus of action, these representations of the Irish landscape allow for an engagement with the aesthetic effects of the geographical landscape as a reflection of the psychological states of the protagonists. Bearing this in mind, this article examines how Silence (Collins 2012) arguably demonstrates the most overt and conscious incursion into this area to date. It specifically interrogates how the filmic representation of the psychogeography and soundscape of the Irish rural landscape can serve to express emotion, alienation and nostalgia, thus confronting both the Irish landscape and the weight of its associated history

Further characterization of ADAMTS-13 inactivation by thrombin

Background: The multimeric size and platelet-tethering function of von Willebrand factor (VWF) are modulated by the plasma metalloprotease, a disintegrin and metalloproteinase with a thrombospondin type 1 motif, member 13 (ADAMTS-13). In vitro ADAMTS-13 is susceptible to proteolytic inactivation by thrombin. Objectives: In this study, we aimed to characterize the inactivation of ADAMTS-13 by thrombin and to assess its physiological significance. Methods and results: By N-terminal sequencing of cleavage products, and by mutagenesis, we identified the principal thrombin cleavage sites in ADAMTS-13 as R257 and R1176. Using a library of 76 thrombin mutants, we highlighted the functional importance of exosite I on thrombin in the proteolysis of ADAMTS-13. Proteolysis of ADAMTS-13 by thrombin caused an 8-fold reduction in its affinity for VWF that contributed to its loss of VWF-cleaving function. Intriguingly, thrombin-cleaved ADAMTS-13 both bound and proteolyzed a short recombinant VWF A2 domain substrate (VWF115) normally. Following activation of coagulation in normal plasma, endogenous ADAMTS-13, but not added ADAMTS-13, appeared resistant to coagulation-induced fragmentation. An estimation of the Km for ADAMTS-13 proteolysis by thrombin was appreciably higher than the physiological concentration of ADAMTS-13. This was corroborated by the comparatively low affinity of ADAMTS-13 for thrombin (KD 95 nm). Conclusions: Together, our data suggest that ADAMTS-13 is protected from rapid proteolytic inactivation by thrombin in normal plasma. Whether this remains the case under pathological situations involving elevated/sustained generation of thrombin remains unclear

Sounds too true to be good: diegetic infidelity–the case for sound in virtual reality

This is a pre-copyedited, author-produced version of an article accepted for publication in Journal of Media Practice following peer review. The version of record McArthur, A., et al. (2017). "Sounds too true to be good: diegetic infidelity – the case for sound in virtual reality." Journal of Media Practice 18(1): 26-40. is available online at:https://doi.org/10.1080/14682753.2017.1305840© 2017 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Cinematic virtual reality (VR) elicits new possibilities for the treatment of sound in space. Distinct from screen-based practices of filmmaking, diegetic sound–image relations in immersive environments present unique, potent affordances, in which content is at once imaginary, and real. However, a reductive modelling of environmental realism, in the name of ‘presence’ predominates. Yet cross-modal perception is a noisy, flickering representation of worlds. Treating our perceptual apparatus as stable, objective transducers, ignores the inter-subjective potential at the heart of immersive work, and situates users as passive spectators. This condescends to audiences and discounts the historic symbiosis of sound–image signification, which comes to constitute notions of verisimilitude. We understand the tropes; we willingly suspend disbelief. This article examines spatial sound rendering in virtual environments, probing at diegetic realism. It calls for an experimental, aesthetic approach, suggesting several speculative strategies, drawing from theories of embodied cognition and acousmatic practice (amongst others) which necessarily deal with space and time as contingencies of the immersive. VR affords a development of the dialectic between sound and image which distinctively involves our spatial attention. The lines between referent and signified blur; the mediation between representations invoked by practitioners, and those experienced by audiences, suggest new opportunities for co-authorship.The authors wish to acknowledge support from the EPSRC and AHRC Centre for Doctoral Training in Media and Arts Technology through Queen Mary University of London

From the ‘hegemony of the eye’ to the ‘hierarchy of perception’: The reconfiguration of sound and image in Terrence Malick's Days of Heaven

Terrence Malick's Days of Heaven (1978) has been hailed as ‘one of the most beautiful films ever made’, but the film's immense cinematic beauty has detracted from the impact of its experimental soundtrack. Drawing on interview material with editor Billy Weber (who worked on all three of Malick's films), the original screenplay of Days of Heaven and detailed sequence analysis, the paper examines the film's manipulation of the traditional relationship between sound and image. Indicating that Malick's experimentation with sound largely developed in post production, Weber confirms that the dialogue-heavy screenplay was transformed in the cutting room with the addition of Linda Manz's haunting voice-over. Ridding the film of dialogue created a different emphasis on sound and Weber's states that he and Malick were disappointed that this aspect of the film was critically overlooked. This article redresses this lack of critical recognition, whilst arguing that it is reflective of the general under-theorisation of sound within a body film theory and criticism which tends to emphasise the visual image. With reference to Jean-Louis Comolli, Mary Ann Doane and Kaja Silverman, amongst others, I underpin my discussion of sound in Malick's film with a look at the wider context of the marginalised position of sound within film theory. © 2001 Taylor & Francis Group, LLC

Interactive visual music

How can Visual Music be composed and presented in such an engaging way that it will turn spectators into participants? How to connect a youthful, twenty-first century audience who are keen to update their Instagram story with Visual Music? Visual Music is an art form, which is “an equal and meaningful synthesis of the visible and audible” (Lund & Lund 2009 149) and “is typically non-narrative and non-representational” (Evans 2005 11). Visual Music is often presented as cinema. Cinema audiences are generally considered to be passive spectators, whose “reactions are pre-programmed by the director, crew, cast and writer” (Mackintosh 2003 2). This paper highlights the nexus between, to use McCall’s (2004) terms ‘the cinematic, the sculptural and the pictorial’, with a focus on creating interactive Visual Music installations

Listening geographies: Landscape, affect and geotechnologies

This paper argues for expanded listening in geography. Expanded listening addresses how bodies of all kinds, human and more-than-human, respond to sound. We show how listening can contribute to research on a wide range of topics, beyond enquiry where sound itself is the primary substantive interest. This is demonstrated through close discussion of what an amplified sonic sensibility can bring to three areas of contemporary geographical interest: geographies of landscape, of affect, and of geotechnologies

Soundscapes: Toward a Sounded Anthropology

A generation of scholars in multiple disciplines has investigated sound in ways that are productive for anthropologists. We introduce the concept of soundscape as a modality for integrating this work into an anthropological approach. We trace its history as a response to the technological mediations and listening practices emergent in modernity and note its absence in the anthropological literature. We then trace the history of technology that gave rise to anthropological recording practices, film sound techniques, and experimental sound art, noting productive interweavings of these threads. After considering ethnographies that explore relationships between sound, personhood, aesthetics, history, and ideology, we question sound's supposed ephemerality as a reason for the discipline's inattention. We conclude with a call for an anthropology that more seriously engages with its own history as a sounded discipline and moves forward in ways that incorporate the social and cultural sounded world more fully. Copyright © 2010 by Annual Reviews. All rights reserved

Productive Development Policies in Latin American Countries: The Case of Peru, 1990-2007

This paper assesses the institutional setting and productive impact of selected productive development policies (PDPs), institutions, and programs implemented in Peru during the period 1990-2007. The assessment is based on a simple, basic framework of a series of economic or market failures that may have constrained the transformation of the productive structure, the process of innovation, and the growth of total factor productivity. Evidence indicates that the PDPs and structural reforms implemented in Peru did not significantly alter the productive structure of the Peruvian economy. If the objectives of the PDPs are to transform the productive structure, increase total factor productivity, and enhance innovation, government interventions need to focus directly on the source of market failures and create quality productive changes within the private sector