DOI QR코드

DOI QR Code

Data Visualization of Site-Specific Underground Sounds

  • Tae-Eun, Kim (Department of Performance Art and Multimedia DongYang University)
  • Received : 2024.01.22
  • Accepted : 2024.02.05
  • Published : 2024.03.31

Abstract

This study delves into the subtle sounds emanating from beneath the earth's surface to unveil hidden messages and the movements of life. It transforms these acoustic phenomena into digital data and reimagines them as visual elements. By employing Sismophone microphones and utilizing the FFT function in p5.js, it analyzes the intricate frequency components of subterranean sounds and translates them into various visual elements, including 3D geometric shapes, flowing lines, and moving particles. This project is grounded in the sounds recorded in diverse 'spaces of death,' ranging from the tombs of Joseon Dynasty officials to abandoned areas in modern cities. We leverage the power of sound to transcend space and time, conveying the concealed narratives and messages of forgotten places .Through the visualization of these sounds, this research blurs the boundaries between 'death' and 'life,' 'past' and 'present,' aiming to explore new forms of artistic expression and broaden perceptions through the sensory connection between sound and vision.

Keywords

Acknowledgement

This paper has been studied with the support of the academic research support project of Dongyang University in 2021.

References

  1. Glazier, L. P., Digital Poetics: Hypertext, Visual-Kinetic Text and Writing in Programmable Media. University of Alabama Press, 2002. DOI: https://doi.org/10.4324/9780203894316-10.
  2. Tanner, L. E., Lost bodies: Inhabiting the borders of life and death. Cornell University Press, 2006. DOI: https://doi.org/10.7591/9781501730009.
  3. Viljoen, H. (Ed.)., Crossing borders, dissolving boundaries (Vol. 157). Rodopi, 2013. DOI: https://doi.org/10.1163/9789401209083.
  4. Hayes, L., From Site-specific to Site-responsive: Sound art performances as participatory milieu. Organised Sound, 22(1), 83-92, 2017. DOI: https://doi.org/10.1017/S1355771816000364.
  5. Kane, B., Sound studies without auditory culture: a critique of the ontological turn. Sound Studies, 1(1), 2-21, 2015. DOI: https://doi.org/10.1080/20551940.2015.1079063.
  6. LaBelle, B., Background noise: perspectives on sound art. Bloomsbury Publishing USA, 2015. DOI: https://doi.org/10.5040/9781501309106
  7. Puckette, M., The Theory and Techniques of Electronic Music. World Scientific Publishing Company, 2017. DOI: https://doi.org/10.1017/s135577181000018x
  8. Salome, V., Listening to Noise and Silence: Towards a Philosophy of Sound Art, 2010. DOI: https://doi.org/10.5040/9781501382901.
  9. Simanowski, R., Digital art and meaning: reading kinetic poetry, text machines, mapping art, and interactive installations (Vol. 35). U of Minnesota Press, 2011. DOI: https://doi.org/10.5749/minnesota/9780816667376.001.0001.
  10. Song, M., A Study on Artificial Intelligence Based Business Models of Media Firms. International journal of advanced smart convergence,8(2), 56-67, 2019. DOI: https://doi.org/10.7236/IJASC.2019.8.2.56.
  11. Kim, J., The Future Past of Humanities Research: Musing Methodology in the Digital Convergence Era. International journal of advanced smart convergence, 9(3), 161-168., 2020. DOI: https://doi.org/10.7236/IJASC.2020.9.3.161.