Underwater Soundscape Monitoring and Fish Bioacoustics: a Review
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Marine Mammals Around Marine Renewable Energy Devices Using Active Sonar
TRACKING MARINE MAMMALS AROUND MARINE RENEWABLE ENERGY DEVICES USING ACTIVE SONAR GORDON HASTIE URN: 12D/328: 31 JULY 2013 This document was produced as part of the UK Department of Energy and Climate Change's offshore energy Strategic Environmental Assessment programme © Crown Copyright, all rights reserved. 1 SMRU Limited New Technology Centre North Haugh ST ANDREWS Fife KY16 9SR www.smru.co.uk Switch: +44 (0)1334 479100 Fax: +44 (0)1334 477878 Lead Scientist: Gordon Hastie Scientific QA: Carol Sparling Date: Wednesday, 31 July 2013 Report code: SMRUL-DEC-2012-002.v2 This report is to be cited as: Hastie, G.D. (2012). Tracking marine mammals around marine renewable energy devices using active sonar. SMRU Ltd report URN:12D/328 to the Department of Energy and Climate Change. September 2012 (unpublished). Approved by: Jared Wilson Operations Manager1 1 Photo credit (front page): R Shucksmith (www.rshucksmith.co.uk) 2 TABLE OF CONTENTS Table of Contents ----------------------------------------------------------------------------------------------------------------------------------------- 3 Table of Figures ------------------------------------------------------------------------------------------------------------------------------------------- 5 1. Non technical summary --------------------------------------------------------------------------------------------------------------------- 9 2. Introduction ----------------------------------------------------------------------------------------------------------------------------------- 12 -
What Does Art Sound Like? an Exploration of Art Through Sound
What does Art Sound Like? An exploration of Art through Sound. Developed by: Catherine Ewer Suggested Grade Level(s): 1 –3 Suggested Length of Class Time: One 60-minute class Subject Areas: Visual Art, Language Art Rationale When it comes to artwork, there is generally a lot of focus on “looking with our eyes” but much can be gained by entering further into the creative experience through sound. In this lesson students will study a piece of art and interpret it as an audio experience, adding a whole new creative layer. Children love creating Soundscapes and will enjoy the ingenuity and imagination necessary to “hear” a painting. This is truly a creative group experience in which everyone’s input is valuable. During the creation of the Soundscape there will be a lot of discussion around sounds using descriptive vocabulary, which the students can then draw upon as inspiration to create short written narratives. Logistics: Classroom setup – group class work, individual work at desks Materials – image of one or more paintings, large enough to look at as a class, sound recorder, or device capable of recording sound. Suggested resources/images – online image banks from various art gallery and museum sites; art reproduction posters, individual art postcards, etc. Some suggestions for types of images are landscapes, seascapes, crowd scenes or an image rich in action. Suggested Outcomes: Students will be expected to: - Explore a variety of sound sources - Work together in group music and art making - Experiment with language choices in imaginative writing and other ways of representing - Share writing or other representations with others and seek feedback - With assistance, experiment with technology in writing and other forms of representation - Select, organize, and combine (with assistance) relevant information to construct and communicate meaning Introduction: As a class, look closely at an image and examine every part. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
The Psychophysiological Implications of Soundscape: a Systematic Review of Empirical Literature and a Research Agenda
International Journal of Environmental Research and Public Health Review The Psychophysiological Implications of Soundscape: A Systematic Review of Empirical Literature and a Research Agenda Mercede Erfanian * , Andrew J. Mitchell , Jian Kang * and Francesco Aletta UCL Institute for Environmental Design and Engineering, The Bartlett, University College London (UCL), Central House, 14 Upper Woburn Place, London WC1H 0NN, UK; [email protected] (A.J.M.); [email protected] (F.A.) * Correspondence: [email protected] (M.E.); [email protected] (J.K.); Tel.: +44-(0)20-3108-7338 (J.K.) Received: 16 September 2019; Accepted: 19 September 2019; Published: 21 September 2019 Abstract: The soundscape is defined by the International Standard Organization (ISO) 12913-1 as the human’s perception of the acoustic environment, in context, accompanying physiological and psychological responses. Previous research is synthesized with studies designed to investigate soundscape at the ‘unconscious’ level in an effort to more specifically conceptualize biomarkers of the soundscape. This review aims firstly, to investigate the consistency of methodologies applied for the investigation of physiological aspects of soundscape; secondly, to underline the feasibility of physiological markers as biomarkers of soundscape; and finally, to explore the association between the physiological responses and the well-founded psychological components of the soundscape which are continually advancing. For this review, Web of Science, PubMed, Scopus, and -
In Situ Listening: Soundscape, Site and Transphonia
In Situ Listening: Soundscape, Site and Transphonia Marcus Leadley Goldsmiths, University of London PhD Sonic Arts 2015 I hereby declare that the work in this thesis and the works presented in the accompanying portfolio are my own. I am responsible for the majority of photographic images used herein and I therefore own and control copyrights. Where necessary, permissions have been acquired, and credits assigned. Signed, Marcus Leadley © 2015 2 Abstract This enquiry represents an exploration of environmental sound and artistic practice from the perspectives of in situ listening and transphonia. The initial term, in situ listening, has been coined by the author in order to constellate a group of intellectual trajectories and artists’ practices that engage with recorded sound and share a common theme: that the listening context, the relationship between mediated sound and site, is an integral part of the engagement process. Heikki Uimonen (2005, p.63) defines transphonia as the, “mechanical, electroacoustical or digital recording, reproduction and relocating of sounds.” The term applies to sound that is relocated from one location to another, or sound that is recorded at a site and then mixed with the sound of the prevailing environment. The experience of the latter, which is a key concern for this thesis, may be encountered during the field recording process when one ‘listens back’ to recordings while on site or during the presentation of site-specific sound art work. Twelve sound installations, each based on field recordings, were produced in order to progress the investigation. Installations were created using a personally devised approach that was rigorous, informed, and iterative. -
Cetacean Population Density Estimation from Single Fixed Sensors Using Passive Acoustics
Cetacean population density estimation from single fixed sensors using passive acoustics Elizabeth T. Ku¨sela) and David K. Mellinger Cooperative Institute for Marine Resources Studies (CIMRS), Oregon State University, Hatfield Marine Science Center, Newport, Oregon 97365 Len Thomas Centre for Research into Ecological and Environmental Modelling, University of St. Andrews, St. Andrews KY16 9LZ, Scotland Tiago A. Marques Centro de Estatı´stica e Aplicac¸o˜es da Universidade de Lisboa, Campo Grande, 1749-016 Lisboa, Portugal David Moretti and Jessica Ward Naval Undersea Warfare Center Division, Newport, Rhode Island 02841 (Received 17 December 2010; revised 18 March 2011; accepted 30 March 2011) Passive acoustic methods are increasingly being used to estimate animal population density. Most density estimation methods are based on estimates of the probability of detecting calls as functions of distance. Typically these are obtained using receivers capable of localizing calls or from studies of tagged animals. However, both approaches are expensive to implement. The approach described here uses a MonteCarlo model to estimate the probability of detecting calls from single sensors. The passive sonar equation is used to predict signal-to-noise ratios (SNRs) of received clicks, which are then combined with a detector characterization that predicts probability of detection as a func- tion of SNR. Input distributions for source level, beam pattern, and whale depth are obtained from the literature. Acoustic propagation modeling is used to estimate transmission loss. Other inputs for density estimation are call rate, obtained from the literature, and false positive rate, obtained from manual analysis of a data sample. The method is applied to estimate density of Blainville’s beaked whales over a 6-day period around a single hydrophone located in the Tongue of the Ocean, Baha- mas. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Report of the Ad-Hoc Group on the Impacts of Sonar on Cetaceans and Fish (AGISC) (2Nd Edition)
ICES AGISC 2005 ICES Advisory Committee on Ecosystems ICES CM 2005/ACE:06 Report of the Ad-hoc Group on the Impacts of Sonar on Cetaceans and Fish (AGISC) (2nd edition) By correspondence International Council for the Exploration of the Sea Conseil International pour l’Exploration de la Mer H.C. Andersens Boulevard 44-46 DK-1553 Copenhagen V Denmark Telephone (+45) 33 38 67 00 Telefax (+45) 33 93 42 15 www.ices.dk [email protected] Recommended format for purposes of citation: ICES. 2005. Report of the Ad-hoc Group on Impacts of Sonar on Cetaceans and Fish (AGISC) CM 2006/ACE:06 25pp. For permission to reproduce material from this publication, please apply to the General Secretary. The document is a report of an Expert Group under the auspices of the International Council for the Exploration of the Sea and does not necessarily represent the views of the Council. © 2005 International Council for the Exploration of the Sea ICES AGISC report 2005, 2nd edition | i Contents 1 Introduction ................................................................................................................................... 1 1.1 Participation........................................................................................................................... 1 1.2 Terms of Reference ............................................................................................................... 1 1.3 Justification of Terms of Reference....................................................................................... 1 1.4 Framework for response -
Acoustic Tagging of Large Sharks – Potential for Acoustic Interference
CITIZEN SCIENCE – CS 05-11-17) Acoustic tagging of large sharks – Potential for acoustic interference (CS 05-11-17) – Kim Allen independent researcher Citizen science overview This paper is one of a series of unfunded, independent research initiatives that question mainstream science, Animal ethics approaches and Governments’ apparent acceptance of “Validated” science in the area of wildlife electronic tracking. Clearly, the Australian shark issue is extremely contentious as well as political and emotionally charged. Over $100 million has been expended by State and Federal governments in an attempt to find answers and make our beaches safer. Unfortunately, at no stage has a strategic approach been taken to identify the key disciplines of science that need to be considered, assessed, and applied. Significant investment has been directed into the construction and support of wide-scale acoustic receiver arrays and individual sensors as well as significant tagging of large sharks off our coastline for research and public safety. Previous satellite archival tagging programs conducted by CSIRO gave us good insight into shark movements, however since this time despite significant investment minimal progress appears to have been made and the potential risks appear to have been ignored. This CSIRO document clearly outlines the types of tags that are used for shark research, it also clearly defines the recommended protocols that should be used for shark tagging operations. From photographic details shared in the public domain it is clear that shark tagging operations undertaken by Fisheries departments don’t follow these stringent protocols. (www.cmar.csiro.au/e-print/open/2009/bradfordrw a.pdf ) It is extremely difficult for “Unqualified” Citizen scientists to challenge mainstream research particularly given the potential erosion of future funding sources if technical criticism is determined as valid. -
Passive Acoustics for Monitoring Marine Animals - Progress and Challenges
Proceedings of ACOUSTICS 2006 20-22 November 2006, Christchurch, New Zealand Passive acoustics for monitoring marine animals - progress and challenges Douglas Cato (1), Robert McCauley (2), Tracey Rogers (3) and Michael Noad (4) (1) Defence Science and Technology Organisation and University of Sydney Institute of Marine Science, Sydney, Australia (2) Centre for Marine Science and Technology, Curtin University, Perth, Western Australia (3) Australian Marine Mammal Research Centre, Zoological Parks Board of NSW and University of Sydney, Sydney, Australia (4) School of Veterinary Science, University of Queensland, Brisbane, Australia ABSTRACT Pioneering recordings of underwater sounds off New Zealand showed a wide range of high level sounds from marine animals, particularly whales [Kibblewhite et al, J. Acoust. Soc. Am. 41, 644-655, 1967]. Almost 40 years later, a much greater amount of data is available on marine animal sounds and there is now considerable interest in using the sounds to monitor the animals for studies of abundance, migrations and behaviour. Passive acoustic monitoring shows much promise because the animal vocalisations are usually detectable over long distances, allowing a large area to be surveyed. Marine mammals are detectable acoustically at much greater distances than they are visible and passive acoustics has the potential to fill in the gaps in open ocean surveying. There are however challenges, and this paper discusses progress and the steps needed to develop robust methods of surveying the abundance and migrations of marine animals, illustrated by studies in our region. Effective use of passive monitoring requires an understanding of the acoustic behaviour of the animals, a knowledge of the acoustic propagation and ambient noise at the time of the survey and a rigorous statistical analysis. -
Assessment of Natural and Anthropogenic Sound Sources and Acoustic Propagation in the North Sea
UNCLASSIFIED Oude Waalsdorperweg 63 P.O. Box 96864 2509 JG The Hague The Netherlands TNO report www.tno.nl TNO-DV 2009 C085 T +31 70 374 00 00 F +31 70 328 09 61 [email protected] Assessment of natural and anthropogenic sound sources and acoustic propagation in the North Sea Date February 2009 Author(s) Dr. M.A. Ainslie, Dr. C.A.F. de Jong, Dr. H.S. Dol, Dr. G. Blacquière, Dr. C. Marasini Assignor The Netherlands Ministry of Transport, Public Works and Water Affairs; Directorate-General for Water Affairs Project number 032.16228 Classification report Unclassified Title Unclassified Abstract Unclassified Report text Unclassified Appendices Unclassified Number of pages 110 (incl. appendices) Number of appendices 1 All rights reserved. No part of this report may be reproduced and/or published in any form by print, photoprint, microfilm or any other means without the previous written permission from TNO. All information which is classified according to Dutch regulations shall be treated by the recipient in the same way as classified information of corresponding value in his own country. No part of this information will be disclosed to any third party. In case this report was drafted on instructions, the rights and obligations of contracting parties are subject to either the Standard Conditions for Research Instructions given to TNO, or the relevant agreement concluded between the contracting parties. Submitting the report for inspection to parties who have a direct interest is permitted. © 2009 TNO Summary Title : Assessment of natural and anthropogenic sound sources and acoustic propagation in the North Sea Author(s) : Dr. -
Federal Register/Vol. 86, No. 75/Wednesday, April 21, 2021
21082 Federal Register / Vol. 86, No. 75 / Wednesday, April 21, 2021 / Rules and Regulations DEPARTMENT OF COMMERCE FOR FURTHER INFORMATION CONTACT: Lisa Network, and the Wishtoyo Foundation Manning, NMFS, Office of Protected filed a complaint seeking court-ordered National Oceanic and Atmospheric Resources, 301–427–8466. deadlines for the issuance of proposed Administration SUPPLEMENTARY INFORMATION: and final rules to designate critical habitat for the CAM, MX, and WNP 50 CFR Parts 223, 224, and 226 Background DPSs of humpback whales. See Center Under the ESA, we are responsible for for Biological Diversity et al. v. National [Docket No. 210415–0080] determining whether certain species are Marine Fisheries Service, et al., No. threatened or endangered, and, to the 3:18–cv–01628–EDL (N.D. Cal.). The RIN 0648–BI06 maximum extent prudent and parties entered into a settlement determinable, designating critical agreement with the approval and Endangered and Threatened Wildlife habitat for endangered and threatened oversight of the court, and subsequently and Plants: Designating Critical species at the time of listing (16 U.S.C. amended the dates specified in the Habitat for the Central America, 1533(a)(3)(A)(i)). On September 8, 2016, original order. The amended settlement Mexico, and Western North Pacific we published a final rule that revised agreement stipulated that NMFS submit Distinct Population Segments of the listing of humpback whales under a proposed determination concerning Humpback Whales the ESA by removing the original, the designation of critical habitat for taxonomic-level species listing, and in these three DPSs to the Federal Register AGENCY: National Marine Fisheries its place listing four DPSs as endangered by September 26, 2019.