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This book draws upon many traditional disciplines that deal with specific aspects of sound, and presents material within an inter-disciplinary framework. It establishes a model for understanding all acoustic and aural experiences both in their traditional forms and as they have been radically altered in this century by technology.

Simon Fraser University went from an idea in 1963 to opening its doors in 1965, a feat that led it to be dubbed “the instant university.” This multi-authored history chronicles the excitement of that first radical decade of the arts at SFU. The 1960s were famously a decade of cultural revolution, and Simon Fraser University was a creature of its time. The counter-culture spirit infected all levels of society, but none more than the new university and its innovative arts programming. Early SFU was shaped by a vision of a new kind of university where thought was free-flowing and lines between the disciplines were blurred. The open format attracted experimental artists such as the dramatist John Juliani and the composer R. Murray Schaffer, whose avant-garde performances did much to set a revolutionary tone. In this multi-authored book, writers associated with the university such as Max Wyman, Barry Truax, Ann Cowan and Francis Mansbridge capture the excitement of that first decade of the arts at SFU. Hildegard Westercamp, Carole Gerson and Christine Hearn describe the years of ferment from the viewpoint of former SFU students, and celebrated filmmaker Sandy Wilson contributes a moving piece written specifically for this book about the beginning of her career in film as a student at SFU. Richly illustrated with ephemera and photographs from the era, A Magical Time traces how innovation in the arts shaped events over the next six decades at SFU.

A handbook of acoustic terminology.

ETUDE DES DIFFERENTS PAYSAGES SONORES DE 5 VILLAGES SITUES EN SUISSE, ALLEMAGNE, ITALIE, FRANCE ET ANGLETERRE.

This publication presents an exploration of space and spatiality in the arts, more specifically the poetry of (abstract) space and the (psychological) perception of space. With a particular focus on immersive installations, spatial sound, multi-screen projections, audiovisual performances, and the innovative artistic use of technology that often takes centre-stage at Sonic Acts, the publication provides insights into the various ways in which the arts approach and define space. Among others, the critical essays explore extremely long sound waves, volcano eruptions and Alvin Lucier, the fascinating history of dioramas, the legendary Vortex concerts of Henry Jacobs and Jordan Belson and the ways in which mobile and location-aware technology profoundly changes the use of social and public space. Interviews with artists, architects and composers shed light on how contemporary artists approach space and spatiality.

The DVD contains all individual tracks, materials and parameters used in the creation of these pieces, plus their structural design, background information and a detailed presentation of all of the digital synthesis and signal processing techniques used, with numerous sound examples and spectrograms, in a format suitable for classes and advanced study.