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  • 1.
    Atienza Badel, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Placed Sounds Displaced: Sound as a Practice In BetweenArt, Architecture and Design2020In: Konstfack Research Week 2020, Stockholm: Konstfack University of Arts, Crafts and Design , 2020, p. 12-12Conference paper (Other academic)
  • 2.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Espèces d’Espaces / Species of Spaces: The sonic space experienced, projected, imagined2022In: Proceedings of the International Conference Landscape and Sustainability: Listening to Multiplicity. UAM, Madrid, 13-19/10/2022 (in press) / [ed] UAM, Madrid, 2022Conference paper (Refereed)
    Abstract [en]

    Espèces d’Espaces is an artistic research project funded by Konstfack University of Arts, Crafts & Design. 

    Its overall focus is the experience of sonic spaces, the intimate relation between body, surrounding space and its exclusive sonic expression. With a practice-based approach, this project pays specific attention to physic acoustics auralisation methods and tools (3D virtual sonic modelling) with an aim to explore in particular how can these processes be transposed to the realm of artistic research. 

    As a part of this project, I shared a case study based on a specific space and construction: a XVIIth century cloister preserved today as a central element of the extension of Museo del Prado in Madrid as planned by architect Rafael Moneo in the early 2000s. 

    This case study starts thus in the realm of traditional architectural acoustics, for later performing a series of experiments in the form of spatial and temporal variations and displacements. Experiments based on a number of artistic architectural (alternative realities of a space) and sonic/musical practices including improvisation or electroacoustic composition.

  • 3.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Espèces d’Espaces / Species of Spaces: The sonic space experienced, projected, imagined2023In: Konstfack Research Week 2023: Refractions, Stockholm: Konstfack University of Arts, Crafts and Design , 2023, p. 8-8Conference paper (Other academic)
  • 4.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Placed sounds displaced: Sound as practice in between art, architecture and design2020Conference paper (Refereed)
  • 5.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Ruido contra ruido: tratamientos sonoros aditivos para el espacio público2015In: Espacios sonoros y audiovisuales 2013: Creación, representación y diseño / [ed] José Luis Carles, Adolfo Núñez, Madrid: Universidad Autónoma de Madrid , 2015, p. 269-281Chapter in book (Other academic)
  • 6.
    Atienza, Ricardo
    et al.
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    Sand, Monica
    Perspectives on Live Urban Radio (LUR)2014In: Forskning i centrum / [ed] Monica Sand, Stockholm: Statens centrum för arkitektur och design (Arkdes) , 2014, p. 129-144Chapter in book (Other academic)
    Abstract
  • 7.
    Atienza, Ricardo
    et al.
    University of Arts, Crafts and Design, Department of Fine Art.
    Sand, Monica
    McGinley, Robin
    Atelier Art et re-action (Area): Performing Urban Routines and Rituals2020In: Ambiances, Alloæsthesia:Senses, Inventions, Worlds: 4th International Congress on Ambiances / [ed] International Ambiances Network, 2020Conference paper (Refereed)
    Abstract [en]

    This paper presents a series of contemporary artistic methods and collective actions based on the pioneering work of the French avantgarde group Art et action (Aea, 1919-1939). Aea actively responded to the fast-changing society of their time through their innovative “theatre laboratory”, an experimental artistic research environment in which actors and audience were invited to investigate together the rhythmic order of urban routines and rituals, through the re-enactment of daily urban atmospheres. Based on Aea’s methods and concepts, atelier Area aims at responding to today’s deep physical, sensorial and social transformation of the city by re-acting contemporary urban routines and rituals through public improvisations and interventions. Three concrete examples will be presented here.

  • 8.
    Billström, Niklas
    et al.
    University College of Arts, Crafts and Design, Institutionen för Konst (K).
    Atienza, Ricardo
    University College of Arts, Crafts and Design, Institutionen för Konst (K).
    Can we improve acoustic environments by adding sound2012In: Proceedings of the 41st International Congress and Exposition on Noise Control Engineering, 2012Conference paper (Other academic)
    Abstract [en]

    Sound is central to the identity of a place, but is nonetheless a frequently neglected component in the design process. We believe that urban soundscape planning and product sound design has much to gain by collaborating with the artistic and humanistic fields of knowledge. Applying acoustics and perception psychology as well, the sound laboratory at Konstfack University College of Arts, Crafts and Design examined the domain of acoustic design in the research project ISHT – The Interior Sound Design of High-Speed Trains – in collaboration with, among others, train manufacturer Bombardier. Empirical data in this study is focused on train travel, but can easily be transposed to other contexts, such as public spaces. Methods for improving sonic experience in relation to criteria such as identity and specific needs were explored. Our thesis question was: How to create a comfortable and appealing environment by adding sounds (distributed via speakers)? The interdisciplinary research methods included field observations, listening tests, and quantitative data, as well as public exhibitions and collaborations with composers.

    Download full text (pdf)
    ISHT paper.pdf
  • 9. Falkenberg Hansen, Kjetil
    et al.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    Ljungdahl Eriksson, Martin
    Large-scale interaction with a sound installation as a design tool2017In: AM '17 Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences, New York: Association for Computing Machinery (ACM), 2017, Vol. Part F131930, article id a35Conference paper (Refereed)
    Abstract [en]

    In this paper we present an installation done in collaboration with Volvo Cars® for the international motor shows in Geneva, New York, and Shanghai during spring 2017. To envision and produce a future car sound for silent vehicles, users were given high-level control of a sophisticated synthesizer through playing with an attainable and inviting “color book”-inspired interface. The synthesizer algorithm was designed to dynamically create a rich mix of looped sounds that could blend with a sonic background scenery that had ecoacoustic validity, and that could metaphorically align with the visual elements. The installation ran faultlessly for around thirty days and with tens of thousands recorded sessions.

  • 10.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology, Sweden.
    Ljungdahl Eriksson, Martin
    Edsbyn/University West, Sweden.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Sound design through large audience interaction.2019In: Proceedings of the 16th Sound & Music Computing Conference: SMC 2019 / [ed] SMC, 2019, p. 119-126Conference paper (Refereed)
    Abstract [en]

    In collaboration with Volvo Cars, we presented a novel design tool to a large public of approximately three million people at the three leading motor shows in 2017 in Geneva, Shanghai and New York. The purpose of the tool was to explore the relevance of interactive audio-visual strategies for supporting the development of sound environments in fu- ture silent cars, i.e., a customised sonic identity that would alter the sonic ambience for the driver and by-passers. This new tool should be able to efficiently collect non-experts’ sonic preferences for different given contexts. The design process should allow for a high-level control of complex synthesised sounds. The audience interacted individually using a single-touch selection of colour from five palettes and applying it by pointing to areas in a colour-book painting showing a road scene. Each palette corresponded to a sound, and the colour nuance in the palette corresponded to certain tweaking of the sound. In effect, the user se- lected and altered each sound, added it to the composition, and finally would hear a mix of layered sounds based on the colouring of the scene. The installation involved large touch screens with high quality headphones. In the study presented here, we examine differences in sound preferences between two audiences and a control group, and eval- uate the feasibility of the tool based on the sound designs that emerged.

  • 11. Ljungdahl Eriksson, Martin
    et al.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    Pareto, Lena
    The Sound Bubble: A context-sensitive space in the space2017In: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 22, no 1, p. 130-139Article in journal (Refereed)
    Abstract [en]

    The design of sonic environments is in need of more active strategies, taking into account not only the physical but also the social and sensorial aspects of a place. This implies abandoning traditional, mono-disciplinary responses in favour of interdisciplinary methods and approaches. In this study we explored the possibility of inserting context-sensitive sound textures to improve the experience of an activity-based office workplace. For this purpose, we developed the concept of the ’sound bubble’ - a micro-space in which the user is embedded by a semi-transparent added sound environment that will operate as a subtle sound mask, attracting the attention without needing to hide the disturbing environment. This should help users (the workers) to stay in an ’everyday listening’ mode. This means, not focusing on the environment in particular but on their tasks, while preserving the link with the surrounding space and activities. 

  • 12. Ljungdahl Eriksson, Martin
    et al.
    Pareto, Lena
    Atienza, Ricardo
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    The Sound Bubble: An Aesthetic Additive Design Approach to Actively Enhance Acoustic Office Environments2016In: Proceedings of 13th conference on Sound and Music Computing, Hamburg 2016, 2016, p. 253-260Conference paper (Refereed)
    Abstract [en]

    Moving towards more open and collaborative workplaces has been an emerging trend in the last decades. This change has led to workers sharing a common open space, with seating’s based on current activity, so called activity-based offices. Consequently, it becomes difficult to design sonic environments that cater to different needs in the same space. In this study we explored the possibility of adding site-specific but location-adaptive sound environments to enhance the experience of an activity-based office workplace. For this purpose, we developed the concept of the “sound bubble,” a micro-space in which the user is embedded by a semi-transparent sound environment. The purpose of the bubble is to help the user ignore irrelevant and disturbing noise while working in an open landscape. The sound bubble supports the user to stay in “everyday listening” mode, i.e., not focusing on anything particular in the surrounding environment while being able to keep a link with it. The sound bubble was evaluated by a total of 43 test subjects participating in an experience-based test, conducting their usual work tasks in an office landscape. Our results show that the sound bubble can enhance auditory work conditions for individual work requiring concentration.

  • 13. Ljungdahl Eriksson, Martin
    et al.
    Pareto, Lena
    Atienza, Ricardo
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    Falkenberg Hansen, Kjetil
    My Sound Space: An attentional shield for immersive redirection2018In: Audio Mostly 2018: Sound in Immersion and Emotion, New York: Association for Computing Machinery (ACM), 2018Conference paper (Refereed)
    Abstract [en]

    In the context of extended reality, the term immersion is commonly used as a property denoting to which extent a technology can deliver an illusion of reality while occluding the users’ sensory access to the physical environment. In this paper we discuss an alternative interpretation of immersion, used in the My Sound Space project. The project is a research endeavor aiming to develop a sound environment system that enables a personalized sound space suitable for individual work places. The medium, which in our case is sound, is transparent and thus becomes an entangled part of the surrounding environment. This type of immersion is only partly occluding the users sensory access to physical reality. The purpose of using the sound space is not to become immersed by the sounds, rather to use the sounds to direct cognitive attention to get immersed in another cognitive activity.

  • 14. Sand, Monica
    et al.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Playing the Space: Resonance, Re-action and the Conference Re(s)on-Art2016In: The art university: political dream or broadened future for the arts? / [ed] Torbjörn Lind, Stockholm: Swedish Research Council , 2016, p. 52-62Chapter in book (Refereed)
  • 15.
    Atienza, Ricardo (Artist, Composer, Researcher, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    3 confined soundscapes2020Artistic output (Unrefereed)
    Download (mp3)
    Confined Soundscape 1
    Download (mp3)
    Confined Soundscape 2
    Download (mp3)
    Confined Soundscape 3
  • 16.
    Atienza, Ricardo
    University of Arts, Crafts and Design, Department of Fine Art.
    Jardin de Délices: Sonic triptych for a space in variation, the old Jerónimos' Cloister2022Artistic output (Refereed)
    Abstract [en]

    Jardin de Délices is born from the acoustic space of the Jerónimos' Cloister in Madrid, today's a part of Prado Museum. This space has been acoustically measured, graphically modeled and finally auralised.

    The study has been interested not only in its present form, but also in its historical configuration as a monastic cloister, as well as in other possible imaginary variations of its state and sound diffusion characteristics (e.g. surfaces covered by an absorbent material, or by a green wall, etc.). The listening points have also been multiplied in terms of distance, location and directionality with the aim of describing the sound qualities of this unique space in terms of transparency and depth.

    These aural responses and multiple realities have then been applied to a series of acoustic (studio-recorded) and electronic (algorithmically synthesized ) audio materials able to sensorially portray their diffusion spaces. The result is a sonic fresco in three parts that aims at testing and expanding our everyday experience of sonic spaces by confronting acoustic realities that are not always compatible or even physically possible.

    Temporary link: https://www.researchcatalogue.net/shared/c2e551ad255a50073c8af8c3b4a7775a (see "experiment 7")

  • 17.
    Atienza Badel, Ricardo (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Billström, Niklas (Musician)
    University of Arts, Crafts and Design.
    McGinley, Robin (Musician)
    Stockholm University.
    RecercAndo: A SoundWalk between the German and the Finnish Church2021Artistic output (Unrefereed)
1 - 17 of 17
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