 My name is Christina Wolfe and I'm the researcher on the MSCA RAS project with Rupert as my supervisor. Rupert can't be here today but he says hi. So the first thing I'm going to talk about is I'm not going to talk about myself because nobody else has so more time for me. I'm going to talk a little bit about the RAS project including some of my research questions that I had to pose and sort of going over the sense of place and what constitutes sound presence, some of the work in progress that I've been doing and some of the future directions. We're about half, almost a year into this and so it's a bit of a weird time to present it but I have some things to show you and I also have some advertisements for future. So the RAS project stands for Using Virtual Reality and Archeoacoustic Analysis to Study and Exhibit Presence and by presence I mean sound presence, part of my work involved training and then working with photogrammetry, game design, acoustic analysis of archaeological sites and acoustic modeling of those sites using ODM. The research questions for my project involve what is the phenomenology, what is the experience of sound presence in historical and ancient spaces, what could be possible acoustic signatures of sound presence, what sort of listening practices or what kind of listening awarenesses can be understood, like what aspects of the space can be understood by thinking about its sound presence and can we bring this into reconstructions. Those are all currently open questions but I have some research I can show. Some presence as far as research, my research has described is it seems to be something along the sublime as uncomfortable as that makes me feel, it seems to be a sense of something in the space of a sound and the sense of place that inspires listeners to tell other people about it, to understand it, to want to learn more about their experience and to also try to share it. When I tell people that I'm working on this project, somebody gives me the most wonderful story of a place and how it made them feel and I'm always very grateful for those stories and so if anybody has any, do tell. Part of my work involves as somebody who's a background in new media art and I'm approaching this from the perspective of an artist is I've been looking at characteristics of present sites and then possible technological means of representing this characteristic. It's subjective but recent developments in game audio and 3D sound have really helped me with my project. One of the characteristics that tends to be immersion, the ability that people feel enveloped by the sound of this place and they either mean that in terms of their acoustic senses or also just in terms of perhaps the overall ambience. It tends to be that these types of present sites and this could be biased to the fact that I've tended to be in funerary and religious sites so they tend to have liminal quality and part of this liminality can be represented in things such as stereographs where there's a process based perception by that I mean is somehow in the VR reconstruction you have to do some sort of perceptual process to understand it like those kind of magic eye posters from the 90s and also things like presentation from one form to another form to then concentrate on those features and given that my background is in composition as I've been interested in the kind of post spectral mediated presentation and then also these spaces seem to be considered unique in some way and that can be the uniqueness can be presented using obviously context, program notes, narratives, explanations of the evidence of the archeological site. So today I've done, we've done because Rupert's been involved in all of this is I've done two real sites here and one of them is Sculptor's Cave and doing ambisonic field recordings and acoustic analysis of Sculptor's Cave in collaboration with the Cubs Sea Caves project. Part of my job has involved, you know, like retexturing the model because of a technological snafu in the original VR representation creating an interactive field walk and obviously my acoustic analysis and ambisonic field recordings to bring some of the unique features of this very hard to access place. We've also done continued research on the hypogeum of Alsatliani where previous research done by Rupert and some people in this room worked on the Oracle chamber. We did a acoustic analysis and took measures of the main chamber, the Holy of Holies and the corridor and we did a few extras in the Oracle chamber just because we were feeling lucky. And then I've also done some work to help the ASU Bonn project create a multimedia installation of the rock gong from the fourth mile cataract. And one of the things that I did with the help of Dr. Reinhard Seinf and also some of the assistants of the Olympic Museum in Lausanne, they were more helpers, they're not collaborators. And so I did a reconstruction of the Echo Stoa which is the seven echo colonnade in the sanctuary and part of what I did was make an acoustic model reconstruction of it. I really just wanted to see if there were seven echoes and there were so that was great. And I'd like to make a VR interactive model of it to give people the chance to make seven echoes for themselves. And so in this one I have an example from the reconstruction of the Echo Stoa and it's Echo E as you can imagine. And I think a good part of the context for this is they used to have shouting contests and trumpeting matches. And so here's an example of trumpet. Lots of echoes, obviously speech transmission is very poor but it lives up to its name. Oh, sorry. Another part of my project, another part of this project would involve in one of my mediated trying to bring the sense of acoustics of space into a different form, one of these would be like post spectral composition where you would bring some sort of like aspects of place in kind of field walk type of acoustic analysis and bringing that into instrumental composition. And so one of the things I've done involving making a system that will allow you to compose your field walk and this is still in progress but I will show you a little bit of that. And you compose your field walk and you record your field walk so that you record basically where your player head is or your real head if you're wearing a VR headset, where you go and you can practice and create a walk that exhibits the things that you find interesting. And then part of that involves recording that position so then for all the instruments or voices you would pick is then to render that into a different form to then gather the pitch and velocity information between the two sides of your head and then translate that into notation. So I have an example of this five minutes. All right. Wow, your generous. I have three for you. So the notation system that I have as an example is basically a six sided room that was arbitrary. But I walked around a sine wave just to sort of record the two, the changes in pitch and amplitude as it goes by my ears and render that into notation for two instruments. It's not a musical piece, it's more of just an example. It's still very much working it out. So here's an example of some of the notation. This is not, obviously if you're playing a sine wave, it wouldn't be in 11th tuplets, but you have to represent the changes in pitch and frequency at least when you're rendering it in very quick notes that you can then erase. And so I don't know if you can see it on there, but the the pluses and the minuses are the change in sense, which is one one hundredth of a semitone. And the dynamic is basically if you have virtually walked by a node of that sine tone. And so I have a very unmusical example of it. I have the sine tone nodes that I can show you. And then the MIDI reconstruction, which is very ugly just it's just to show you. So that's it's binaural and this isn't really in the best environment to hear it. But it's just sort of an example and like a proof of concept that I could do that. So I could try to find somebody to play it for me. Okay. And so in the last two minutes is this is I'll talk about the future directions of this project and and future dissemination topics is I will compose a series of 3d audio landscapes described by Kawsanias and his guide degrees, such as like a river of singing fish or a a bowl that you can hear the ocean, the sound that a river makes when an earthquake comes and will that we presented at the Contemporary Music Festival in the ambisonic showcase. Another one will be Soundgate 2.0. And for those of you who are involved in EMAT project, the this is a continuation of that with just adding more spaces. I'd also make a plug in that would allow people to compose with sites that they find interesting and also sites that I find interesting. And obviously papers on the acoustics of the two fieldwork sites that I've done and if all works out an instrumental composition and performance derived from the acoustics of some of these archeological sites. 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