Auralization

Today there are 2 major evolutions in spatial audio. First, an enhanced 3D audio experience, where virtual sound sources can be accurately synthesized in any direction, is possible with technologies such as binaural, Wave Field Synthesis, Higher Order Ambisonics or Vector Base Amplitude Panning. Second, 3D audio is on the way to being democratized through binaural adaptation for headphone listening. These evolutions call for revisiting the methods and tools used to assess the perception of spatial sound reproduction. The first objective of this paper is to delineate the problem, by exploring the potential dimensions and the related attributes underlying the perception of spatial sound, mainly within the context of binaural reproduction. Secondly, assessment methods, including both standard and less conventional ones, are listed, and their relevance for the measure of the attributes previously identified is discussed.

This research addresses the unquestionable importance of sound, often ignored, in the creation of architectural spaces. Specifically, ways of reinventing spaces that adapt to the needs of experimental electronic music are investigated, for whose execution specific spaces that are far from traditional venues such as auditoriums, or conventional bars or pubs are necessary. And it is that electronic music is unique in the sense that the sound heard is sensational as a result of the combination of classical music sounds, sounds of nature, voices, sounds of various instruments, etc... Sounds that have the ability to transport the listener to a world full of magic, where everything is possible, where we are one. At present, the rise of this musical genre that mobilizes masses, requires the creation and acoustic conditioning of new spaces, or the substantial improvement of already existing ones, so that the musical experience lived in them is complete, causing on the listeners a multiplicity of unforgettable sensations.

The Bayreuth Festspielhaus (BF) is unique; the theatre was conceived by Richard Wagner to host the complex of Ring and it was opened in 1876. After this date, the BF played a key role in the development of the modern opera house and no other opera house is so discussed among non acousticians for its acoustics. Some solutions applied for the first time in this theatre influenced later opera houses: the position of all seats within the line of sight of the stage, the dimming of the lights during representations, the double proscenium arch and–the most relevant one–the use of a deep orchestra pit (mystic gulf). However, in spite of the worldwide fame of the BF, the values assumed by the main room acoustics criteria in this hall have been reported and analysed in few works. The aim of the present work is to analyse the key role played by BF in the history of the opera basing on acoustic measurements and then propose tools for an immersive virtual experience of this space. All the main acoustic room criteria have been extracted and commented taking into account the peculiarity of the Wagnerian opera. Measured criteria have been related to the subjective impressions reported in the non technical literature. Furthermore, a numerical model of the theatre has been created. The model was calibrated by using the measured room criteria, following state-of-the-art techniques. A whole orchestra (105 musicians) plus singers (3 singers and a choir of 10 persons) was simulated on a computer. The present and the original acoustics of the hall were recreated by rendering binaural room impulse responses (BRIRs) for three listener positions in the audience. These tools allow to experience the Wagner's idea of a " new opera " from a perceptual point of view. The CAD model and the simulated BRIRs of the BF are freely available for academic uses.

Sound propagation in an enclosed space is a complex phenomenon that depends on the geometrical properties of the room and the absorption features of the boundary's surface materials. The sound field's behaviour in rooms can be modelled using different theories, depending on the approach applied for describing the sound wave propagation.

This thesis focuses on room acoustics modelling in enclosed spaces using energy diffusion processes. In this work,
how the diffusion equation theoretical model can simulate the sound field distribution in complex spaces is investigated.

The acoustic diffusion equation model has been actively studied in recent years, since it provides high efficiency and flexibility to the simulations of different types of enclosures; however, only a few research studies have been performed to deeply investigate the accuracy, advantages and limitations of this alternative method.

A systematic derivation of the acoustic diffusion equation method is developed,
to establish the basis and assumptions of the model and to link it with the geometrical acoustics techniques. This also allows a proper description of its theoretical advantages and limitations.

This thesis is also devoted to the numerical implementation issues concerning the acoustic diffusion equation model. In this work, the sound field is modelled by means of finite-difference schemes. The results of this study provide practical and simple solutions by showing a low computational requirements in both time and memory consumption.

Finally, an evaluation of the acoustic diffusion equation model is carried out in order to study its performance for acoustic predictions in rooms. Special attention is paid to both temporal and spatial assumptions of the model.
In these simulations, different scenarios and configurations are used to compare predicted values with measurement results and predictions from other well-established geometrical acoustics methods.

In general, the results show that the acoustic diffusion equation model can be used to predict room-acoustics time criteria, such as reverberation time, with accuracy. A deeper analysis reinforces the theoretical limitation that the diffusion equation is mainly valid for predicting the late part of the room impulse response.
Moreover, it is observed that the spatial dependence of the predicted parameters with the diffusion equation is partially modelled, presenting low variability between several receiver positions within the room, as expected according to the theoretical assumptions.

Existing studies show that there are strange acoustical effects at the prehistoric sites. The resonances found at European prehistoric sites are generally in the frequency range of 90 – 120 Hz. The effects of listening to tones on regional brain activity at this frequency range have been studied before. This study is an investigation into the perceptibility of the resonances in the aforementioned frequency range, using a technique called auralisation. Bass response of the auralisations of a prehistoric hypogeum (Hal Saflieni Hypogeum, Malta) and a modern cathedral (Saint-Etienne, France) is analysed using spectral audio analysis methods. An ABX listening test was designed and carried out to test the hypothesis. The quantitative results of the subjective listening tests showed that subjects could differentiate between the two audio files. Combined with the findings from spectral analysis of the audio files, the study is concluded that the resonances found in the auralisation of Hal Saflieni Hypogeum are perceptible, thus, perceptual studies about the effects and possible use of the prehistoric sites need to be urged in order to discover the forgotten cultures and knowledge. Recommendations for further work are stated.

La representación tridimensional de espacios es una herramienta fundamental de la que se dispone para el estudio de un edificio. Es especialmente destacable su uso en la creación de entornos virtuales, así como, en este caso, para evaluar de forma objetiva y subjetiva la calidad acústica de los mismos. Sin embargo, la complejidad formal de algunos edificios, en especial aquellos con valor patrimonial, hace difícil su modelado. Según la finalidad del modelo tridimensional, se puede recurrir a distintos programas o técnicas. En este trabajo se valoran tanto los condicionantes como los resultados obtenidos con el uso de dichos programas, atendiendo a criterios como lo automático del proceso y la exactitud del modelo; la rapidez y la facilidad de uso del programa; el realismo del resultado o la posibilidad de aprovechar el mismo modelo para llevar a cabo cálculos acústicos. La finalidad del proyecto y su grado de exigencia serán determinantes a la hora de escoger el método de construcción virtual del edificio más adecuado.

How important is the influence of spatial acoustics on our mental processes related to sound perception and cognition? There is a large body of research in fields encompassing architecture, musicology, and psychology that analyzes human response, both subjective and objective, to different soundscapes. But what if we want to understand how acoustic environments influenced the human experience of sound in sacred ritual practices in premodern societies? Archaeoacoustics is the research field that investigates sound in the past. One of its branches delves into how sound was used in specific landscapes and at sites with rock art, and why past societies endowed a special significance to places with specific acoustical properties. Taking advantage of the advances made in sound recording and reproduction technologies, researchers are now exploring how ancient social and sacred ceremonies and practices related to the acoustic properties of their sound environment. Here, we advocate for the ...

How important is the influence of spatial acoustics on our mental processes related to sound perception and cognition? There is a large body of research in fields encompassing architecture, musicology, and psychology that analyzes human response, both subjective and objective, to different soundscapes. But what if we want to understand how acoustic environments influenced the human experience of sound in sacred ritual practices in premodern societies? Archaeoacoustics is the research field that investigates sound in the past. One of its branches delves into how sound was used in specific landscapes and at sites with rock art, and why past societies endowed a special significance to places with specific acoustical properties. Taking advantage of the advances made in sound recording and reproduction technologies, researchers are now exploring how ancient social and sacred ceremonies and practices related to the acoustic properties of their sound environment. Here, we advocate for the emergence of a new and innovative discipline, experimental psychoarchaeoacoustics. We also review underlying methodological approaches and discuss the limitations, challenges, and future directions for this new field.

Anechoic recordings of symphony orchestra have been proposed in the literature and have been used in a multitude of studies concerning both innovative measurements and psychoacoustic experiments. Using the same approach, the present work shows the results of a recording campaign focused on the Italian Opera. Different motifs from Italian Operas have been played by professional musicians and soloist in the silent room of the Bologna University. The excerpts have been chosen both because of their musical style characteristics and their acoustic properties (dynamics, tymbre, vibrato). The chosen motifs come from scores of Donizetti, Verdi and Puccini, in order to consider various orchestrations and Opera styles.

This thesis focuses on room acoustics modelling in enclosed spaces using energy diffusion processes. In this
work, how the diffusion equation theoretical model can simulate the sound fi eld distribution in complex spaces is
investigated.
A systematic derivation of the acoustic diffusion equation method is developed, to establish the basis and assumptions
of the model and to link it with the geometrical acoustics techniques. This also allows a proper description
of its theoretical advantages and limitations.
This thesis is also devoted to the numerical implementation issues concerning the acoustic diffusion equation
model. In this work, the sound fi eld is modelled by means of fi nite-difference schemes. The results of this study provide
practical and simple solutions by showing a low computational requirements in both time and memory consumption.
Finally, an evaluation of the acoustic diffusion equation model is carried out in order to study its performance for
acoustic predictions in rooms. Special attention is paid to both temporal and spatial assumptions of the model.

Architectural design plays a significant role in shaping human experience in buildings through the perception of space. However, architectural characteristics not only result in visual attributes that affect how the occupants see the space, but they also create auditory environments that impact what the occupants hear based on sound propagation and reflections from surfaces. Yet, architectural acoustics’ physical measurements do not precisely reflect the human acoustical experience because other perceptual and cultural aspects contribute to it, as the aural architecture approach suggests. The perceptual aspect deals with the psychological and physiological effects of sound and its relation to human cognition and emotions, while the cultural aspect focuses on the role of cultural background in sound perception.
This research offers a comprehensive approach that allows for a deeper understanding of such experience by studying the interaction between the physical, perceptual, and cultural aspects of acoustics. Since worship spaces offer an example in which the spiritual experience is dependent on the acoustic environment, this study adopts them as case studies aiming to answer the following questions: how does an acoustic environment influence human experience and emotions? What are the acoustic characteristics and parameters related to that emotional impact? What are the links between the acoustic characteristics and the emotional impact?
This research analyzes the experience by recreating acoustics using virtual reality technology and subjective methods that include self-report in addition to objective methods that include physiological measurements (i.e., heart rate and skin conductance), to validate the results. The results demonstrated that the acoustic environment amplifies the intensity of the emotional impact depending on the building’s architectural design and that familiarity with sound and acoustic characteristics can increase this impact.
Then, the research proposes a method to investigate the response of the room to the excitation by the sound source considering its architectural characteristics through frequency-domain analysis based on auralization. The auralization-based method named (multiple convolutions) proved its ability to identify room modes that create resonance for spaces with complex geometries, such as worship spaces, taking into account the architectural surfaces’ materials and the source location.
Finally, the study analyzes the room acoustics’ parameters and includes a correlational analysis to develop indicators for studying the auditory experience and to establish guidelines for designing spaces that enhance it. The correlation between the emotional impact of spaces and their acoustic parameters illustrated the significance of low frequencies in the emotional impact of worship spaces and raised the issue of considering these frequencies when analyzing and designing such spaces.  Consequently, the research calls for further studies on the architectural characteristics of acoustic environments that impact emotions and enhance well-being.

Violin timbre is discussed and demonstrated in light of Heinrich Dünnwald's work on parameters for relative levels of certain frequency ranges of narrowband violin body spectra. He analyzed more than 700 violins and found some characteristic objective features in the spectra of Old Italian violins that differed from modern master and factory made violins. Using data from my impact hammer data set of violins and hardangers I compare the spectra of instruments with low versus high values of these Dünnwald parameters and make "difference filters" between them. These filters are then used in modifications of a short played violin phrase demonstrating the effects as the Dünnwald parameters are varied. I will also present some preliminary results from a data mining project where I extract some simple significant correlations between construction details and these objective timbre parameters.

Critical listening to simulated sound fields in rooms and spaces can be done using auralizations. We may assess the rooms, and different audience- and performer positions, by just listening to the models, or to the finished space by playing back recordings in them. This procedure is very similar to the everyday listening to music, or the radio, at home, in the car, at music, theatre or dance venues. Also many, if not most, performances today are done by the use of amplification of sound sources played back in the same room or outdoor venue

Drawing on an understanding of sound as an integral functional aspect of ancient spaces, this article analyzes reconstructed scenarios of public speech and assembly during the Late Republic on the Forum Romanum. Through the use of auralizations, the comprehensibility of a speech delivered to the crowd from the three main speaker’s platforms can be simulated: from the Republican rostra towards the comitium, from the rostra towards the forum square, and from the Temple of Castor. When combined with reconstructions of the visibility of the speaker from the crowd, it can be determined how well each platform facilitated political communication. In the Late Republic the successive shifts in location can be shown to be connected to an increase in their effectiveness for reaching ever larger audiences.

Jacob Böhme (1575-1624), a German cobbler turned visionary author and spiritual dissident, is an important figure who connects the histories of early modern mysticism to Continental philosophy and later countercultural movements; yet he remains understudied and frequently misunderstood. Challenging prevalent views that Böhme’s writings are either exercises in irrationality, "primitive" religious speculation, or failed attempts at metaphysics, I argue that his work provides a performative mesophysics: a theory and a practice aimed at relocating religious authority in the body and fostering an experience of the world that rejected contemporaneous theological and scientific cosmologies in favor of an ontology of human/world co-constitution. In short, Böhme's works are meant to catalyze existential transformation rather than convey purely conceptual content.
In the upcoming workshop I will discuss the unique aural dimensions of Böhme's apocalypticism by exploring his application of a mystical hermeneutic—referred to as "the language of nature" (die Natursprache)—to the opening lines of Luther's translation of Genesis. Mounting a radical critique of both religious orthodoxy and early modern cartography, Böhme envisioned a vibratory and resonantly interdependent cosmos, wherein divinity and humanity continuously produce one another in polyphonic collaboration. The imaginary of sound—a force at once material and invisible—provided him with a vocabulary capable of mapping the world as a chaos of energy and emergence, rather than an object of theological or scientific inquiry; it allowed him to forge a poetics and politics of mystical participation that sounded in counterpoint to the rigidity of social and religious hierarchies. Furthermore, I will argue that this aural ontology was undergirded by a corporeal-linguistic practice that allowed him and his followers to dissolve the semantic content of scripture into a mechanism for generating a sonic body capable of aural apotheosis.

For human–computer interaction, most devices use the fingers, sometimes the whole hand. And short of organ pedals, the fingers remain the primary source of triggering musical instrument digital interface (MIDI) synthesizers. This project offers an alternative in using the color intensity and hue controlled through objects manipulated or worn as clothing or ornament by the human body, as detected by a camera across the several zones of the video image. The method is explained in this report, along with pitfalls, perturbations, as well as performance and paradigm.

See the project website at http://sensescapes.asu.edu. ASU is embarking on a major new project, focusing on the reconstruction of “sense-scapes” of the past, employing state-of-the-art digital technology of our day. Exploring sensorial perception of the past and making past experiences “feelable” and to some extent re-livable was so far either technically impossible or at least restricted due to the high cost of full immersion technology. With the advent of affordable high resolution hardware, e.g. 3D virtual reality headsets, this will change: In order to create audiovisuell “worlds” of the past ASU has teamed up with the University of Lund (Sweden), the University of Leuven, the Alamire Foundation (Belgium) and several other scholars to explore and apply the immense possibilities of sensorial digital reconstruction to a concrete pilot project.

Auralization, the computational rendering of sound for listeners, enables archaeoacoustical reconstructions. In archaeoacoustics research, computational tools and analyses frequently enmesh with human performance. Broadening the definition of archaeological auralization to encompass the investigative process of specifying and enacting the re-sounding of archaeological spaces, objects, and events positions auralization as a methodology for the sensory exploration of anthropological research questions. A foundational tool for archaeoacoustical and archaeomusicological fieldwork, auralization allows contextualized testing and measurement of spatial and instrumental acoustics, along with their perceptual evaluation. Case-study examples from Andean archaeoacoustics research include auralizations of reconstructed architectural acoustics, and in-situ loudspeaker playback of recorded performances of 3,000-year-old conch shell horns, delivered as auditory perceptual experiment stimuli within the extant ceremonial ...

Acoustics and architects are often engaged in design dialogues. While architects work on the definition of the spaces, acousticians deal with understanding in advance how these spaces will be sonically perceived by the future inhabitants. Sometimes, communication might be difficult, lacking a common vocabulary based on sound energy descriptors, frequency distribution, and perceptual dimensions. In this paper, we present the results of an online questionnaire answered by 15 professional architects asked to consider the possible integration of sonic anticipations in their design practice. The totality of the participants declared to be interested in working with a software environment enabling them to listen to (i) how changes in the geometry would affect the diffusion of sound, (ii) how changes in the materials would affect the diffusion of sound, (iii) simulate sound sources which are likely to be present in the space to be designed. Some of this percentage expressed the need to be further guided for such activity. A third of the respondents also completed an optional section which required them to test three interactive online examples, Playsound.space, Tranquil City pavement, and a javascript spatial sound demo. In discussing the results, we provide our design suggestions for the scenario depicted.

Presented at the Five College Digital Humanities Speaker Series: Speculative Computing & Worldmaking, Amherst College (October 2015)


Immediate, ephemeral, dynamic: sound pervades human experience and communication. Leveraging computational tools and human aptitudes, integrative archaeoacoustics probes sonic aspects of ancient life, and in its reconstructive activities, provides experiential engagement with the past, with our predecessors. Such humanistic inquiry offers us the potential to transcend ethnocentric biases, and at the same time, grow in our awareness of their hold on us and on our scholarship. What traces of experiential and social dynamics are revealed by fragmented remains of human culture? How can our reconstructive methods of interaction make transparent their self-reflexivity, yet also bring to attention human commonalities across time and geography?

The aim of the Auralization process is to create audible
sound files from numerical data, which can be simulated,
measured or synthesised [1]. This process has been used for
the simulation of indoor sound since the 1960’s, while, due
to the complexity of predicting sound in an outdoor
environments, for these contexts, has only recently gained
attention of experts. Moreover recently this process is even
more frequently used in combination with visual scenarios.
Today, even though the computing power and data storage
allows a better managing and processing of the information,
Outdoor Auralization remains still demanding. In order to
reduce the computation load needed for the auralization of
outdoor environments, the efforts of experts are oriented to
reach a perceptually correct or plausible auralization rather
than a physically correct auralization [2]. The concept of
plausibility is often referred to as the perceived agreement
with the listener’s expectation towards a corresponding real
acoustic event [3].
However sound perception can also be influenced by nonauditory
factors, among them, vision plays a fundamental
role, as research has already demonstrated [4, 5]. Nowadays
visual stimuli can be experienced by means of Immersive
Virtual Reality (IVR) systems, providing to users a fully
integrated immersion into the simulated environment.
In this study we submitted, to a sample of subjects, pairs of
audio-video stimuli with differently spatialized sounds.
The aim of the study was to assess if the subjects could
detect any auditory difference in a pairwise comparison,
depending on the detail of the visual stimuli. The main
results are presented and discussed.

O som é um aspecto crucial para proporcionar imersão em diversas áreas do entretenimento, afetando a experiência do usuário estética e fisicamente, principalmente no âmbito das diferentes tecnologias de reprodução disponíveis. Uma dessas tecnologias é a técnica biauricular, a qual já apresenta aplicações no entretenimento, como na música, por exemplo. No entanto, essa técnica ainda não é amplamente explorada no contexto dos jogos virtuais. Ela tem suas primeiras ocorrências mais pronunciadas na indústria apenas nos últimos 2 anos. A maior parte dos jogos virtuais atuais utilizam o áudio para fornecer feedback ao jogador, e elevar a experiência do usuário. Dessa forma, se faz relevante investigar sobre os efeitos imersivos e novas formas de gameplay que a técnica biauricular pode ocasionar ao público. O objetivo principal deste trabalho é realizar testes subjetivos por meio de um jogo virtual simplificado com as configurações de áudio biauricular e estéreo tradicional, apresentadas por fones de ouvido, a fim de obter uma avaliação subjetiva acerca da implementação da técnica biauricular quando ela influencia diretamente no gameplay e observar fenômenos gerados por sua percepção auditiva a partir de dados sobre a performance dos participantes. A configuração estéreo foi selecionada como referência para obter uma situação de comparação, pois constitui uma técnica amplamente conhecida por usuários em diversas tecnologias. O ambiente virtual para os testes foi desenvolvido com o motor de jogo Unity, e o plugin RealSpace3D foi utilizado para a implementação de HRTFs nas faixas biauriculares. Com um ambiente virtual em campo aberto e uma sala fechada, várias potenciais fontes sonoras foram posicionadas ao longo do espaço. Alternando-se entre as duas configurações de áudio, apenas uma fonte sonora é acionada por vez, e o sujeito deve localizá-la. Observou-se que, nas situações em que faixas biauriculares são apresentadas, os sujeitos localizaram as fontes com maior rapidez.

The Bayreuth Festspielhaus (BF) is unique; the theatre was conceived by Richard Wagner to host the complex of Ring and it was opened in 1876. After this date, the BF played a key role in the development of the modern opera house and no other opera house is so discussed among non acousticians for its acoustics. Some solutions applied for the first time in this theatre influenced later opera houses: the position of all seats within the line of sight of the stage, the dimming of the lights during representations, the double proscenium arch and–the most relevant one–the use of a deep orchestra pit (mystic gulf). However, in spite of the worldwide fame of the BF, the values assumed by the main room acoustics criteria in this hall have been reported and analysed in few works. The aim of the present work is to analyse the key role played by BF in the history of the opera basing on acoustic measurements and then propose tools for an immersive virtual experience of this space. All the main acoustic room criteria have been extracted and commented taking into account the peculiarity of the Wagnerian opera. Measured criteria have been related to the subjective impressions reported in the non technical literature. Furthermore, a numerical model of the theatre has been created. The model was calibrated by using the measured room criteria, following state-of-the-art techniques. A whole orchestra (105 musicians) plus singers (3 singers and a choir of 10 persons) was simulated on a computer. The present and the original acoustics of the hall were recreated by rendering binaural room impulse responses (BRIRs) for three listener positions in the audience. These tools allow to experience the Wagner's idea of a " new opera " from a perceptual point of view. The CAD model and the simulated BRIRs of the BF are freely available for academic uses.

Presentation at Acoustics'17 Boston

Auralization, the computational rendering of sound for listeners, enables archaeoacoustical reconstructions. In archaeoacoustics research, computational tools and analyses frequently enmesh with human performance. Broadening the definition of archaeological auralization to encompass the investigative process of specifying and enacting the re-sounding of archaeological spaces, objects, and events positions auralization as a methodology for the sensory exploration of anthropological research questions. A foundational tool for archaeoacoustical and archaeomusicological fieldwork, auralization allows contextualized testing and measurement of spatial and instrumental acoustics, along with their perceptual evaluation. Case-study examples from Andean archaeoacoustics research include auralizations of reconstructed architectural acoustics, and in-situ loudspeaker playback of recorded performances of 3,000-year-old conch shell horns, delivered as auditory perceptual experiment stimuli within the extant ceremonial architecture at Chavín de Huántar, Peru. Performed plaza auralizations at the Inka administrative city Huánuco Pampa re-enacted sound transmission dynamics in that Pre-Columbian public space, enabling present-day listeners to evaluate verbal intelligibility, among other tests. As a fieldwork methodology, archaeological auralization is both process and product: the specification and physical sounding of concepts and data, to be observed and evaluated in relationship with archaeological materials and knowledge.

The aim of the Auralization process is to create audible sound files from numerical data, which can be simulated, measured or synthesised [1]. This process has been used for the simulation of indoor sound since the 1960’s, while, due to the complexity of predicting sound in an outdoor environments, for these contexts, has only recently gained attention of experts. Moreover recently this process is even more frequently used in combination with visual scenarios. Today, even though the computing power and data storage allows a better managing and processing of the information, Outdoor Auralization remains still demanding. In order to reduce the computation load needed for the auralization of outdoor environments, the efforts of experts are oriented to reach a perceptually correct or plausible auralization rather than a physically correct auralization [2]. The concept of plausibility is often referred to as the perceived agreement with the listener’s expectation towards a corresponding ...

The aim of the Auralization process is to create audible sound files from numerical data, which can be simulated, measured or synthesised [1]. This process has been used for the simulation of indoor sound since the 1960’s, while, due to the complexity of predicting sound in an outdoor environments, for these contexts, has only recently gained attention of experts. Moreover recently this process is even more frequently used in combination with visual scenarios. Today, even though the computing power and data storage allows a better managing and processing of the information, Outdoor Auralization remains still demanding. In order to reduce the computation load needed for the auralization of outdoor environments, the efforts of experts are oriented to reach a perceptually correct or plausible auralization rather than a physically correct auralization [2]. The concept of plausibility is often referred to as the perceived agreement with the listener’s expectation towards a corresponding ...

Presentation in the Symposium: "The Ephemeral, Sensed Past: Archaeological Approaches to Sound and Human Experience", Dianne Scullin & Miriam Kolar, Co-Chairs, at the Society for American Archaeology 79th Annual Meeting, Austin, 24 April 2014.

ABSTRACT

Archaeoacoustics provides a channel through which experiential aspects of past human life might be accessed. Knowledge of physical dynamics, derived from the material remnants of past places, objects, and other artifacts of human actions, enables present-day evaluation of ephemera such as sound. Psychoacoustics, the science of sonic perception and cognition, can be employed in archaeological research to estimate human experiential implications of acoustic dynamics of environments, spaces, and objects. Experiential estimations may be made by applying findings from relevant experimental studies, or by conducting site-contextualized subjective experiments, either in situ where conditions permit testing, or in the lab using computational simulations known as auralizations. Although such sonic reconstructions are potentially useful as research tools and for knowledge sharing, as with any virtualization of reality, interpretative and presentational factors are problematically intertwined. Auralization might, therefore, be considered a mode of engagement with archaeological data. To illustrate theoretical concerns, methodologies, and applications, case-study examples are given here, based on data from acoustic measurements and auditory localization experiments conducted within the ceremonial architecture at the Andean Formative complex of Chavín de Huántar, Perú.