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Though sound is a central feature within urban life, it still receives little to no attention within processes of urban planning. The main difficulty in integrating sound is that it remains largely immeasurable — decibel levels say little about whether a sound is wanted or not, intrusive or welcome. Studio_L28: Sonic Perspectives on Urbanism hooks into the debate here, experimenting with tools and strategies of observation, mapping, and planning. By mixing research practices from theoretical, professional, and artistic fields, the publication argues for an integration of sound in urban planning that is multifaceted, versatile, and keenly observed.
City planning --- Sound --- City noise --- 711.6 --- 711.61 --- 711.4 --- 711 --- 699.84 --- Cities and towns --- Urban noise --- Noise --- Acoustics --- Continuum mechanics --- Mathematical physics --- Physics --- Pneumatics --- Radiation --- Wave-motion, Theory of --- Civic planning --- Land use, Urban --- Model cities --- Redevelopment, Urban --- Slum clearance --- Town planning --- Urban design --- Urban development --- Urban planning --- Land use --- Planning --- Art, Municipal --- Civic improvement --- Regional planning --- Urban policy --- Urban renewal --- Stadsplanning --- Openbare ruimte --- Stedenbouw --- Stedenbouw (theorie) --- Ruimtelijke ordening --- Akoestiek (architectuur) --- Government policy --- Management --- City sounds --- Villes --- Bruits --- Stedenbouw ; Brussel ; 21ste eeuw --- Stedenbouw ; geluidshinder --- Sociale ecologie ; geluid ; geluidshinder --- Architectuurtheorie ; over ruimte en geluid --- 699.844 --- 711.4(C) --- Geluidsisolatie. Lawaaibestrijding. Akoestiek --- Steden ; vormgeving ; analyse
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The Middle Matter is a reader which brings together thoughts on the nature of sound; its substance, specific qualities, and potential – with a specific curiosity to its propensity to occupy the spaces in-between, the instertitial gaps between different spaces, times, cultures, and world views, between the interior body and the exterior space. Through a number of artistic and theoretical contributions, observations are made around the notion of “audience” and the attendant questions of format, on the effects of old and new technologies, of communal working processes, and the complexity of language, the contributors reveal sound to be a material particularly apt at negotiating these zones of and between contact. It is a large field of in-betweenness, sound travels, hops borders, passes through walls, its messages for a large part being transported involuntarily and even unconsciously. In this sense sound is extensively participative, entangled in the complicated gaps between bodies, minds and objects through and against which it resonates.
Art --- sound [acoustics] --- philosophy of art --- sound art --- klank
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