Iris has synesthesia. She has no idea. At first, she simply thinks that everyone sees colors and shapes when music plays, but by the time she's a teenager, it's clear that others don't understand. Struggling to downplay the way she experiences the world, and worrying what it might mean to be different, the young artist is at war with herself until she meets a new friend - and he sees the colors too. An ensemble chorus of colors bring Iris' experience of discovering her neurodivergence to life in this triumphant, visually stunning coming-of-age story. (A full-length version of this play is also available.) Drama One-act. 35-45 minutes 9-30+ actors (suggested casting: 5F, 2M, 9 any)

Iris has synesthesia. She has no idea. At first, she simply thinks that everyone sees colors and shapes when music plays, but by the time she's a teenager, it's clear that others don't understand. Struggling to downplay the way she experiences the world, and worrying what it might mean to be different, the young artist is at war with herself until she meets a new friend - and he sees the colors too. An ensemble chorus of colors bring Iris' experience of discovering her neurodivergence to life in this triumphant, visually stunning coming-of-age story. (A one-act version of this play is also available.) Drama Full-length. 70-80 minutes 10-30+ actors (suggested casting: 5F, 2M, 10 any)

Gain access to a personal collection of 101 highly effective drama games and activities suitable for children or adults. Sections include improvisation, mime, ice-breakers, group dynamics, rehearsal, story-telling, voice and warm-ups.

Game Sound Technology and Player Interaction: Concepts and Developments researches both how game sound affects a player psychologically, emotionally, and physiologically, and how this relationship itself impacts the design of computer game sound and the development of technology. This compilation also applies beyond the realm of video games to other types of immersive sound, such as soundscape design, gambling machines, emotive and fantastical sound to name a few. The application for this research is wide-ranging, interdisciplinary, and of primary importance for academics and practitioners searching for the right sounds.

At the turn of the twentieth century, new technologies such as the phonograph, telephone, and radio changed how sound was transmitted and perceived. In Modernist Soundscapes, Angela Frattarola analyzes the influence of “the age of noise” on writers of the time, showing how modernist novelists used sound to bridge the distance between characters and to connect with the reader on a more intimate level. Frattarola tunes in to representations of voices, noise, and music in works by Dorothy Richardson, Virginia Woolf, James Joyce, Jean Rhys, and Samuel Beckett. She argues that the common use of headphones, which piped sounds from afar into a listener’s headspace, inspired modernists to record the interior monologues of their characters in a stream-of-consciousness style. Woolf’s onomatopoeia stemmed from a desire to render the sounds of the world without mediation, similar to how some contemporaries hoped that recording technology would eliminate the need for musicians. Frattarola also explains how Beckett’s linguistic repetition mirrors the mechanical reproduction of the tape recorder. These writers challenged ocularcentrism, the traditional emphasis on vision in art and philosophy, and instead characterized the eye as distancing and analytical and the act of listening as immediate and unifying. Contending that the experimentation typically associated with modernist writing is partly due to this new attentiveness to sound, this book introduces a fresh perspective on texts that set the course of contemporary literature.

From a founding figure in the field, the definitive introduction to an exciting new science. What do the sounds of a chorus of tropical birds and frogs, a clap of thunder, and a cacophony of urban traffic have in common? They are all components of a soundscape, acoustic environments that have been identified by scientists as a combination of the biophony, geophony, and anthrophony, respectively, of all of Earth’s sound sources. As sound is a ubiquitous occurrence in nature, it is actively sensed by most animals and is an important way for them to understand how their environment is changing. For humans, environmental sound is a major factor in creating a psychological sense of place, and many forms of sonic expression by people embed knowledge and culture. In this book, soundscape ecology pioneer Bryan C. Pijanowski presents the definitive text for both students and practitioners who are seeking to engage with this thrilling new field. Principles of Soundscape Ecology clearly outlines soundscape ecology’s critical foundations, key concepts, methods, and applications. Fundamentals include concise and valuable descriptions of the physics of sound as well as a thorough elucidation of all sounds that occur on Earth. Pijanowski also presents a rich overview of the ecological, sociocultural, and technical theories that support this new science, illustrating the breadth of this amazingly transdisciplinary field. In methods, he describes the principles of data mining, signal processing, and mixed methods approaches used to study soundscapes in ecological, social, or socio-ecological contexts. The final section focuses on terrestrial, aquatic, urban, and music applications, demonstrating soundscape ecology’s utility in nearly all spaces.

A redefinition of the animal's relationship to sound and language in French texts from medieval England. The barks, hoots and howls of animals and birds pierce through the experience of medieval texts. In captivating episodes of communication between species, a mandrake shrieks when uprooted from the ground, a saint preaches to the animals, and a cuckoo causes turmoil at the parliament of birds with his familiar call. This book considers a range of such episodes in Old French verse texts, including bestiaries, treatises on language, the Life of Saint Francis of Assisi and the Fables by Marie de France, aiming to reconceptualize and reinterpret animal soundscapes. It argues that they draw on sound to produce competing perspectives, forms of life, and linguistic subjectivities, suggesting that humans owe more to animal sounds than we are disposed to believe. Texts inviting readers to listen and learn animal noises, to seek spiritual consolation in the jargon of birds, or to identify with the speaking wolf, create the conditions for an assertion of human exceptionalism even as they simultaneously invite readers to question such forms of control. By asking what it means for an animal to cry, make noise, or speak in French, this book provides an important resource for theorizing sound and animality in multilingual medieval contexts, and for understanding the animal's role in the interpretation of the natural world.

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide puts forward a new conceptual framework of embodied affectivity that emphasises listening in urban research and design and advances new ways of knowing and making. The guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. Urban Soundscapes foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental research and design beyond prevailing visual and human-centred modes. The guide expands landscape architects’ and urban designers’ tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice and interweaves theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. This book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to practitioners and academics in landscape architecture, and other design and spatial fields such as urban design, architecture, geography and engineering, who play a primary role in the composition of the soundscape.

China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the Internet come into dialogue with local embodied practices. Synthesized together, these practices create new forms that facilitate powerful, affective experiences of faith.

Through his organization Wild Sanctuary, Bernie Krause has traveled the globe to hear and record the sounds of diverse natural habitats. Wild Soundscapes, first published in 2002, inspires readers to follow in Krause’s footsteps. The book enchantingly shows how to find creature symphonies (or, as Krause calls them, “biophonies”); use simple microphones to hear more; and record, mix, and create new expressions with the gathered sounds. After reading this book, readers will feel compelled to investigate a wide range of habitats and animal sounds, from the conversations of birds and howling sand dunes to singing anthills. This rewritten and updated edition explains the newest technological advances and research, encouraging readers to understand the earth’s soundscapes in ways previously unimaginable. With links to the sounds that are discussed in the text, this accessible and engaging guide to natural soundscapes will captivate amateur naturalists, field recordists, musicians, and anyone else who wants to fully appreciate the sounds of our natural world.