Ambient Addition: How to Turn Urban Noise Into Music Noah Vawter B. S., Electrical Engineering Worcester Polytechnic Institute, May 1997 Submitted to the Program in Media Arts and Sciences School of Architecture and Planning in partial fulfillment of the requirements of the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute May 2006 Of ^wit. ^00d&l 0 2006 Massachusetts Institute of Technology AH rights reserved Author: Noah Theodore Vawter Program in Media Arts and Sciences May 17,2006 Certified by: Chris P. Csikszentmihiilyi Associate Professor of Media Arts and Sciences Thesis Supervisor Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduatestudies -- -- I Program in Media Arts and Sciences /r - ARCHIVES Ambient Addition: How to Turn Urban Noise Into Music Noah Vawter Submitted to the Program in Media Arts and Sciences School of Architecture and Planning in partial fulfillment of the requirements of the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology Abstract As human civilization devises ever more powerful machines, living among them may become more difficult. We may find ourselves surrounded by incidentally created sounds and noises which are out of synchronization with our momentary needs and discordant. Currently, legislating noise pollution is the only articulated solution and clearly it is not very effective. Our impression of sound, however, may be mediated and manipulated, transformed into something less jarring. So far, Walkmans and sound canceling headphones have done this, isolating us from noise but also from one another. In their place, a next generation headphone system is proposed which integrates environmental sound into a personal soundscape. It allows one to synthesize music from environmental sound using a number of digital signal processing (DSP) algorithms to create a sonic space in which the listener remains connected with his or her surroundings, is also cushioned from the most harsh and arrhythmic incursions and may also be drawn to appreciate the more subtle and elegant ones. Ambient Addition: How to Turn Urban Noise Into Music Noah Vawter Chris Csikszentmihayi Associate Professor of Media Arts and Science Fukutake Career Development Professor Massachusetts Institute of Technology Ambient Addition: How to Turn Urban Noise Into Music Noah Vawter Barry Vercoe Professor of Media Arts & Sciences Director, Music, Mind and Machine Group MIT Media Laboratory Thesis ~eader Ambient Addition How to Turn Urban Noise Into Music Noah Vawter Douglas Repetto Director of Research Columbia University, Computer Music Center Thesis Reader Acknowledgments I would like to thank Jim Barabas for letting me use his Linux machine before I could get JTAG Tools working under Cygwin. I would like to thank Nathan Wray for compiler assistance, among dozens of other things. I would like to thank Ethan Bordeaux, Ben Recht and Brian Whitman, co- members of the DSP-Music Syndicate, for listening and believing. Some of the concepts for Ambient Addition were brainstormed by the four of us together. I would like to thank Elisa Archer for her support and encouragement throughout this project. I would hke to thank every teacher I have ever had for preparing me for this world. I would like to thank Ayah Bdeir, KeIley Dobson, Limor Fried, Tad Hirsh, jroth, Lira Nikolova, Gemma Shusterman, and Adam Whiton - my fellow Computing Culture research group members - for being part of it all... and especially to Chris Cs&szentmihAlyi for directing it all. I would like to thank my readers Doug Repetto and Barry Vercoe for contributing their time to this thesis. I would like to thank my parents for teaching me to see the world in such an unusual way. Figure 1. Bust of Roy Lamson enjoying the busy environment of the Media Lab transformed into music by Ambient Addition. Table of Contents lntroduction Noise Acoustic Isolation Social Isolation Artist Approaches to Noise Conclusion to Introduction Technical Possibilities Rhythm Harmony Melody Design Audio Hardware Development Hardware Headphones Speakers Microphones Case Software System Control DSP Algorithms Conclusion Self-Experiments User Evaluation Future Work Appendix - User Evaluation Bibliography "NOISE, n. A stench in the ear. Undomesticated music. The chief product and authenticating sign of civilizati~n.~~-Ambrose Bierce (1, 191 1) Introduction Noise is a problem for people in urban environments. To shield themselves fkom it, many people listen to walkmans* while walking in the city. Interestinglyy they reserve the use of earplugs and noise-canceling headphones - devices which eliminate noise - for airplanesy industrial work, sleeping, etc. Although people block most city noise outy they want to hear part of it as well. As Jean-Paul Thibaud, a sociologist at Cresson Laboratories, Grenoble describes: The walking listener uses it beadphone listening] not only to protect himself fkom the sonic aggressions of the city but also to filter and enhance the events that the place its meaning. [...I Dependmg on the places and what is happening in them, the sound volume of the Walkman is used in order to be able to listen to or to mask conversations, bells ringing, children's screams, traffic noise, and so forth. [...I 'When there's a great deal of noise aroundyI make the Walkman louder.'' [...I 'The other day, I lowered the volume because I wanted to hear the bells ..." (5, 2003) * In 1986, "Wallunant'was entered into the Oxford English Dictionary. Its definition is broad enough to encompass all personal stereo systems, including the popular Pod. (2, 1999) Curiously enough, the 'Wt at the beginning of the word is capitalized. The acceptable plural forms of Walkman are Walkmans, and Walkmen. (3, 2006) The Merriam-Webster Dictionary concurs, although it does not list the plural forms. (4, 2006) In many cases though, people are acoustically isolated from the outside world. As activities like laughter and conversation take place around them outside their attention, Walkman listeners become socially isolated. The following paragraphs offer evidence of the social isolation that Walkmans may produce. Following that discussion, some approaches artists have taken to turning noise into music are examined. Finally, in the conclusion to the introduction, the technology of Ambient Addition, which addresses these ideas, is introduced. The Isolation That Walkmen Create figure 2. A defaced auveniszng poster in NOHO,New York City. (7,2004) Figure 2 depicts an anonymously defaced poster from the NOHO area of New York City in 2004. The unsolicited remark in the upper right hand corner - - -- . states that the 'i' in Apple's 'Wad"* stands for isolation. This grafito echoes complaints by principals and cultural critics about the isolation iPods create, which have rekindled in the last few years with the commercial success of the iPod. Some of the complaints mention concerns about isolation from when Sony first introduced the Walkman. For example, Nicholas Taylor, who *a popular digital Walkman. writes on music and culture in Pop Matters and New York Spirit, wrote: These fears concerning the social effect of the iPod are not new. They mirror very closely the iPod's analog progenitor, the Sony Walkman, which sparked the portable music revolution in the 1980s. Critics feared then just as they do now that the promise of portable music listened to through headphones would make people social zombies, unable to relate to the world around them, trapped between their left and right audio channels, in a world of their own. (8, 2005) In 2005, iPods were banned in an Australian school. Taylor reported that "according to the school's principal, Ms. Kerrie Murphy, her decision to do away with a device taking the world by storm coincides with a wider discussion of how iPod listeners are 'not tuning into other people because they're tuned into themselves.'" (8, 2005) In the same article, Taylor defended the iPod, because he values the complex world of emotional experiences listeners are experiencing when they use them. While this may be valid, Pods create such a gap between the external and internal worlds of sound, that they sometimes lead to safety issues. Journalist Kerry Dougherty describes her iPod experience while jogging: "What I couldn't see, because it was right behind me, and couldn't hear, because 'Ring of Fire' was echoing through my eustachian tubes, was a big white sport utility vehicle on my heels. [...I She slammed on her brakes. Screamed to a stop. Glared at me. I deserved it. Lucky for me, she wasn't listening to her own Pod.'' (9, 2006) When describing the Walkman's isolation effects, Phil Patton, a writer for The New York Times and contributing editor of ID Magazine, Wired, and Esquire, invoked anthropologist Edward Hall's model of human movement: . .. Three decades ago the sociologist Edward Hall introduced the concept of the "space bubble," that culturally conditioned distance that dictates how close we stand to another person and how much space we need around us to feel comfortable. The Walkman might be said to have introduced another kind of bubble: a technological bubble of concentration and obliviousness to surroundings, a private space in public. Today, the streets are full of cellular telephone users enveloped in similar bubbles of communication and concentration. Palm pilots and other small digital devices have similar effects. (10, 1999) Figure 4. Limor Fried '5 'Wave Bubble" jams cellular telephone signals in a Figure 3. Artnur Eisenaar ana TOCO bubble around its user. Also, Stolk's BuBL SPACE jams cellular instructions to build it are available teelephone signals within a 3m radius. online. (12, 2005) (11, 2004) One response to the "technological bubbles of concentration and obliviousness to surroundings" has been the development of devices to "pop" the bubbles by jamming cellular telephone signals. In 2004, Arthur Elsenaar and Taco Stolk introduced BuBL SPACE as an art project which jams signals within a 3m radius.