Hagia Sophia and Multisensory Aesthetics

Pentcheva, Bissera V.

doi:10.2307/41550552

Cited by 50 publications

(11 citation statements)

References 13 publications

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“…Numerous examples can be found in the literature where alternative sound sources were used. Some examples and the sources that were used are: The measurement of impulse responses in open-air theatres (firecracker) [44,45], in churches (pistol shots and balloons) [46], in Buddhist temples (balloons) [47], measuring the acoustics of catacombs (balloons and firecrackers) [48,49], measurements in Stonehenge (balloons) [50], measurements in the Notre-Dame cathedral (balloons) [51], measurements in the Hagia Sofia (balloons) [52], measurements in urban environments (pistol shots) [53], green roofs absorption (pistol shots) [54], measurements in subway stations (firecrackers) [55], the acoustic of caves (balloons) [56,57], room acoustics (handclap) [58], barrier attenuation (shotshell primer) [59] and classroom acoustics [60] (wooden clapper). The reason that prompted the use of these alternative sources will be presented in the following related chapters.…”

Section: Aim Of This Reviewmentioning

confidence: 99%

“…According to the research presented in the introduction, the justifications that prompted its use were mainly the lack of electric supply [47,56,57], affordability and ease of use [52]. Referring to the research that utilized the balloon as a sound source: "The difficulty of operating in a cumbersome environment prevented the use of a sound source like a dodecahedron loudspeaker with a power amplifier" (Acoustic of caves [57]), "However, the site is in condition of repairs; hence, it is not possible to use such measurement techniques (dodecahedron speaker)" (Buddhist temple [47]), "Balloons are inexpensive and easy use" (Hagia Sophia [52]), "Due to the impossibility to connect to the electricity grid, the use of the whole equipment was not possible as recommended by ISO 3382" (Acoustic of caves [56]).…”

Section: Balloonmentioning

confidence: 99%

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Review of Acoustic Sources Alternatives to a Dodecahedron Speaker

Papadakis

Stavroulakis

2019

Applied Sciences

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An omnidirectional source is required in many acoustic measurements. Commonly a dodecahedron speaker is used but due to various factors (e.g., high cost, transportation difficulties) other acoustic sources are sometimes preferred. In this review, fifteen acoustic source alternatives to a dodecahedron speaker are presented while emphasis is placed on features such as omnidirectionality, repeatability, adequate sound pressure levels, even frequency response, accuracy in measurement of acoustic parameters and fulfillment of ISO 3382-1 source requirements. Some of the alternative acoustic sources have the appropriate features to provide usable results for acoustic measurements, some have acoustic characteristics better than a dodecahedron speaker (e.g., omnidirectionality in the high-frequency range), while some can potentially fulfill the ISO 3382-1 source requirements. Collected data from this review can be used in many areas (e.g., ISO measurements, head-related transfer functions measurements) for the appropriate selection of an acoustic source according to the expected use. Finally, suggestions for uses and future work are given aimed at achieving further advances in this field.

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Section: Aim Of This Reviewmentioning

confidence: 99%

Section: Balloonmentioning

confidence: 99%

Review of Acoustic Sources Alternatives to a Dodecahedron Speaker

Papadakis

Stavroulakis

2019

Applied Sciences

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“…Projects like that of the Icons of Sound team directed by art historian Bissera V. Pentcheva and the Center for Computer Research in Music and Acoustics at Stanford University, which recreates a multisensory experience by adding a sound component to Hagia Sophia (Pentcheva 2011), enable students to think conceptually about the possibility of an audio image. The project also demonstrates to students the fruitful interaction between two very disparate fields, Byzantine architectural studies and contextualized psychoacoustics, in order to better understand the science of human auditory perception in a specific, historical, architectural location.…”

Section: Understanding Digital Spacesmentioning

confidence: 99%

Visual Literacy and Art History: Teaching Images and Objects in Digital Environments

Finch

2015

Essentials of Teaching and Integrating Visual and Media Literacy

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Though the image is central to the discipline, art history has not contributed extensively to the definition and practice of visual literacy studies. This chapter identifies an intersection between the two fields by examining the role of digital reproduction in the study of art history, particularly the ways in which reproductions of art objects and architecture in online digital environments provide an egalitarian space for students and teachers to hold discussion beyond the classroom. First, this chapter provides a brief examination of art history's pedagogical practices as they relate to visual literacy studies. Then, four activities and assignments are presented which highlight the digitized object as a pedagogical tool. Students demonstrate visual and media literacy in assignments that make use of familiar apps like Instagram to perform traditional art historical methods of evaluating images, such as visual analysis and iconography, on the digitally reproduced image. Instructors guide students through web sites that host digitized objects, meeting their students, for example, in a medieval cathedral and discussing the articulation of the digital space. Through these activities, art history instructors capitalize on students' technological abilities as digital natives while providing them with perspective on image-based technologies of previous eras. Although the focus is on students in a traditional higher education environment, many of the exercises presented can be modified for a younger learner base or the nontraditional higher education student.

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“…An example of this is how the long reverberation is connected to the Holy Spirit. 17 Arkette also used phenomenology to describe the sound scape of the city, and further pointed out that studying the social and cultural aspects of soundscape is rarely considered, although it can help in understanding social relationship between communities. Soundscapes can create an illusion by connecting or isolating people.…”

Section: Perceptual and Cultural Aspectsmentioning

confidence: 99%

Review of aspects that shape the aural experience in worship spaces

Algargoosh¹

2016

Proceedings of Meetings on Acoustics

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Physical measurements of architectural acoustics do not precisely reflect the human acoustical experience in worship spaces. While many studies focus on architectural acoustics, aural architectural analysis that includes perceptual and cultural aspects, in addition to the physical aspects, and provides more comprehensive understanding of the aural experience, is afforded less attention. Worship spaces require complicated acoustical environments that allow both the hearing of sound clearly and the experiencing of sound aesthetics. This experience can create emotional effects through the perception of sound; therefore, there is the need for further study on the relationship between the qualitative and quantitative acoustical characteristics of religious buildings. This review paper provides a comparative analysis of previous studies in terms of physical, perceptual, and cultural aspects of acoustics, and further clarifies the research gap in this area. Finally, it recommends strategies for studying the aural experience in worship spaces through the interaction between the cultural influence that affects how a specific sound is perceived, and the architectural elements that change acoustical parameters, thus playing an important role in the perception of the sound in the space.

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Hagia Sophia and Multisensory Aesthetics

Cited by 50 publications

References 13 publications

Review of Acoustic Sources Alternatives to a Dodecahedron Speaker

Review of Acoustic Sources Alternatives to a Dodecahedron Speaker

Visual Literacy and Art History: Teaching Images and Objects in Digital Environments

Review of aspects that shape the aural experience in worship spaces

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