In this Bachelor thesis I explore sound and room as elements in design of user interfaces, both theoretical and practical in a specific application domain, to identify some of the advantages and disadvantage associated with these elements. As application domain I studied email clients and their usage at home amongst students at Blekinge Institute of Technology. In the study I found an activity, which seems to be highly distributed in the physical room where the user is located. The activity was notification of email and could take place in an arbitrary location of the home. I then augmented this activity with ideas from my theoretical assumption about room and sound. The result was a rule-based agent for notification of email, which primarily uses sound as interaction style..

In soundscape research, the field?s methods can be employed in combination with approaches involving sound quality attributes in order to create a deeper understanding of sound images and soundscapes and how these may be described and designed. The integration of four methods are outlined, two from the soundscape domain and two from the sound engineering domain. This study has shown that by combining these methods the understanding of both the entire soundscape and the specific sounds increase. The study also shows that when the methods are used, there is a qualitative change of the description and understanding of soundscapes and the concrete description becomes more elaborate..

This paper is a study of documentary film production with focus on the filmmakers choice and usage of sound equipment. Using professional articles and literature have first of all helped us determine a standard for the conventional use of sound equipment in documentary film. Afterwards, by analyzing our own interviews we?ve received answers on how filmmakers relate to the conventional usage and why they select equipment as they do. Thereafter, we describe a technical method which helps a filmmaker to be able to record sound for documentary film on his/her own, using simple measures without reducing quality.

J.O. Mallander?s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: ?Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen?? Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper.Extended Play is, in parallel with Derrida?s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen?s politics of neutrality represent.Mallander?s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording.

This paper is a study of documentary film production with focus on the filmmakers choice and usage of sound equipment. Using professional articles and literature have first of all helped us determine a standard for the conventional use of sound equipment in documentary film. Afterwards, by analyzing our own interviews we?ve received answers on how filmmakers relate to the conventional usage and why they select equipment as they do. Thereafter, we describe a technical method which helps a filmmaker to be able to record sound for documentary film on his/her own, using simple measures without reducing quality.

In printed text, sound is a somewhat forgotten aspect. The recitation of text is vital in areas like poetry and oratory, but still has no distinct technique of being communicated. Emphasis of a word might be expressed through italics, but no canonic character set or system for vocal delivery of texts exists. With this essay we are creating a foundation for a development of such a character set or system. By studying existing visualisations of sound and comparing these with semiotic and perception-based theories we obtain useful insights for a prospective system for visualisations of vocal sounds.We conclude that the aspects of sound one wants to visualise must be carefully defined since the viewer cannot process infinite amounts of information.

This report describes how wavefiles can be recorded with programs written in the C++ language . The report also describes how the recorded sound is handled before it can be analyzed. The report describes the different parts that make a wave file to a wave file and how Windows handle these files. There is always some silence or noise of unknown length that passes through the system before some interesting sound arrives. That silence or nose must not be recorded and therefore some function must be developed that can detect interesting sound or speech.

Noise music is created around sounds not often welcome in a musical context. Since the birth of electronic music in the 1950s a new perspective on composing has emerged. In electronic music, sounds and their timbre are as much important as melody, harmony and rhythm. This composing perspective is not often observed. Therefore I have examined a musical genre that stretches the boundaries of what we consider music, sound, noise, beautiful and terrible.

This essay examines the criteria for a peaceful cemetery. First there is a short history of the Swedish funeral place. After that follows the definitions of a peaceful place according to environmental psychology. From these definitions an analysis method is constructed for identifying a peaceful cemetery. The analysis method contains six criteria, shape of the entrances, existence of sound, vegetation character, the cemetery?s demarcation, the cemetery?s management and what feeling the cemetery mediates.The analysis method is put into practice on three cemeteries, Överklinten cemetery, Stockholm forest cemetery and the old cemetery in Malmö.

Tomo Hugglink (TOMO Skog) is an innovation for harvest and transport of biofuels. The system consists of a truck, a chipping unit and crane mounted on a link and a wood chip trailer. The system works in such a way that the chipping unit is disconnected and placed on the site and wood chips are loaded directly into the wood chip trailer.The aim of this study was:- To examine the performance of the TOMO Hugglink system under different conditions such as the size, placement and quality of the pile.- To calculate the cost per raw ton for two vehicle combinations at different transport distances and to examine the effect of a reduction in set-up time and an increase in load weight.- To identify possible improvements with the TOMO Hugglink system.A time study was conducted within the thesis work to make it possible to determine production and time consumption. In the subsequent economic analysis the cost per tone at different transport distances was calculated for two different lorry concepts. Furthermore the effect of a reduction in set-up time and an increase in load weight was calculated.Under current conditions the utilization of the chipper is low and only 29 % of the total system time is occupied by chipping.

Background: From a public health perspective it is of great interest to prevent the risk of noise induced hearing loss, because in addition to hearing loss, tinnitus and sound sensitivity also may lead to other health problems. About 1,4 million people in Sweden live with some form of hearing loss and 25000 of them are children under the age of 16. Studies have shown that hearing loss among adolescents is increasing and it is often associated with sound environments in their leisure time. Lectures in hearing prevention has been conducted in schools for adolescents but have not reached the desired results. Objective: To enquire caregivers? attitude, behaviour and perceived knowledge about sound exposure and its risks.

I detta examensarbete har det undersökts vilken teknik för trådlös kommunikation som passar bäst att användas då en ljudsignal ska strömmas trådlöst till multipla mottagare. De tekniker som jämfördes var Wi-Fi och Bluetooth. Andra tekniker för trådlös kommunikation, ZigBee, ANT+ och NFC, valdes bort för att deras maximala datahastighet eller räckvidd inte var tillräcklig. 3G och 4G valdes bort för att det krävs en licens för att få använda dessa. Som mottagare skulle i första hand Android- och iOS-mobiltelefoner användas.

Volvo Construction Equipment is a world leading company in construction machinery. Tomaintain the best products, development is prioritized. The master thesis regards sound reductionof the hydraulic system on a wheel loader. The background to the master thesis is asimulation made on the hydraulic system, performed autumn 2005. The result of the simulationshows that the energy of the pressure ripple is reduced when the paralleled hydraulicpumps are phase shifted and reduces each others pump pulsations.

Kandidatarbetets innehåll undersöker och diskuterar frågeställningen: ?Hur påverkas narrativet i en film genom att gestalta ljudet akusmatiskt??. Med hjälp av teorier och slutsatser från filmteoretiker så som Michel Chion, David Sonnenschein och Klas Dykhoff, har vi till kortfilmen Alla ljuger skapat en ljudläggning med fokus på narrativa ljud utanför den rörliga bilden. Vårt resultat syftar till att skapa grunden till en svensk standardisering av de existerande teorier och metoder för gestaltning av akusmatiska ljud i film. The content of this bachelor thesis examines and discusses around the question: ?How does the implementation of acousmatic sounds affect the narrative of a motion picture??.

Föreliggande uppsats har som syfte att ta reda på vilken syn elgitarrlärare på estetiska gymnasieprogram har kring förmedling av sound och utrustning och vilka metoder de tillämpar för att lyfta fram dessa moment i sin undervisning. Sound kan definieras på många sätt, men i detta arbete har det en innebörd av vilka klanger som olika instrument, förstärkare och diverse hjälpmedel kan producera. Målet är att ge nuvarande och blivande instrumentpedagoger en inblick i hur elgitarrlärare arbetar med dessa moment i undervisningen idag. Förhoppningen är även att studien ska kunna ge inspiration till att utveckla metoder och finna redskap som hjälper elever att skapa ett eget sound. Datamaterialet består av intervjuer med fem elgitarrlärare samt observationer av tre av dessa lärares gitarrlektioner.