How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.

This book constitutes the refereed proceedings of the 4th European Immersive Education Summit, EiED 2014, held in Vienna, Austria, in November 2014. The 11 revised full papers presented were carefully reviewed and selected from 30 submissions. The papers are organized in topical sections on innovation and technological advancements in e-learning; immersive and emerging technologies for cultural and digital heritage.

Essential reading for anyone interested in artistic research applied to music This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus Research Centre in Music (ORCiM) in Ghent, Belgium. The book critically examines experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues. Contributors Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM)

This book is dedicated to Prof. Dr. Heinz Gerhäuser on the occasion of his retirement both from the position of Executive Director of the Fraunhofer Institute for Integrated Circuits IIS and from the Endowed Chair of Information Technologies with a Focus on Communication Electronics (LIKE) at the Friedrich-Alexander-Universität Erlangen-Nürnberg. Heinz Gerhäuser's vision and entrepreneurial spirit have made the Fraunhofer IIS one of the most successful and renowned German research institutions. He has been Director of the Fraunhofer IIS since 1993, and under his leadership it has grown to become the largest of Germany's 60 Fraunhofer Institutes, a position it retains to this day, currently employing over 730 staff. Likely his most important scientific as well as application-related contribution was his pivotal role in the development of the mp3 format, which would later become a worldwide success. The contributions to this Festschrift were written by both Fraunhofer IIS staff and external project team members in appreciation of Prof. Dr. Gerhäuser's lifetime academic achievements and his inspiring leadership at the Fraunhofer IIS. The papers reflect the broad spectrum of the institute's research activities and are grouped into sections on circuits, information systems, visual computing, and audio and multimedia. They provide academic and industrial researchers in fields like signal processing, sensor networks, microelectronics, and integrated circuits with an up-to-date overview of research results that have a huge potential for cutting-edge industrial applications.

Digital signal processing is an area of science and engineering that has been developed rapidly over the past years. This rapid development is the result of the significant advances in digital computer technology and integrated circuits fabrication. Many of the signal processing tasks conventionally performed by analog means are realized today by less expensive and often more reliable digital hardware. Multirate Systems: Design and Applications addresses the rapid development of multirate digital signal processing and how it is complemented by the emergence of new applications.