The contemporary design practice known as data sonification allows us to experience information in data by listening. In doing so, we understand the source of the data in ways that support, and in some cases surpass, our ability to do so visually. In order to assist us in negotiating our environments, our senses have evolved differently. Our hearing affords us unparalleled temporal and locational precision. Biological survival has determined that the ears lead the eyes. For all moving creatures, in situations where sight is obscured, spatial auditory clarity plays a vital survival role in determining both from where the predator is approaching or to where the prey has escaped. So, when designing methods that enable listeners to extract information from data, both with and without visual support, different approaches are necessary. A scholarly yet approachable work by one of the recognized leaders in the field of auditory design, this book will - Lead you through some salient historical examples of how non-speech sounds have been used to inform and control people since ancient times. - Comprehensively summarize the contemporary practice of Data Sonification. - Provide a detailed overview of what information is and how our auditory perceptions can be used to enhance our knowledge of the source of data. - Show the importance of the dynamic relationships between hearing, cognitive load, comprehension, embodied knowledge and perceptual truth. - Discuss the role of aesthetics in the dynamic interplay between listenability and clarity. - Provide a mature software framework that supports the practice of data sonification design, together with a detailed discussion of some of the design principles used in various examples. David Worrall is an internationally recognized composer, sound artist and interdisciplinary researcher in the field of auditory design. He is Professor of Audio Arts and Acoustics at Columbia College Chicago and a former elected president of the International Community for Auditory Display (ICAD), the leading organization in the field since its inception over 25 years ago. Code and audio examples for this book are available at https://github.com/david-worrall/springer/ Here is an excellent review of the book by Dr Gregory Kramer: “Worrall proceeds bravely through the trees and vines of philosophy, information theory, aesthetics, and other contributors to sonification design theory. It’s a feat. He nails all of this down with the specific implementation system he’s designed over many years, and applies his theories to specific problems. In a field of research still in its first half century and setting its bearings in a world where human perception has become a sideshow to machine learning, deep learning, and artificial intelligence, the roots David provides will serve well.” Dr Gregory Kramer is the founding figure in the emerging field of sonification, founded the International Conference on Auditory Display (ICAD) and editor of the first book in the field, "Auditory Display: Sonification, Audification and Auditory Interfaces" (Addison Wesley, 1994).
By 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary theatrical vitality, David Worrall re-examines the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace. The book presents an innovative transposition of social assemblage theory into performance history. It argues that the cultural meaning of drama changes with every change in the performance location. This theoretical model is applied to a wide range of archival materials including censors' manuscripts, theatre ledger books, performance schedules, unfamiliar play texts and rare printed sources. By examining prompters' records, box office receipts and benefit night takings, the study questions the status of David Garrick, Sarah Siddons and Edmund Kean, and recovers the neglected actress, Elizabeth Younge, and her importance to Edmund Burke.
The theatre and drama of the late Georgian period have been the focus of a number of recent studies, but such work has tended to ignore its social and political contexts. Theatric Revolution redresses the balance by considering the role of stage censorship during the Romantic period, an era otherwise associated with the freedom of expression. Looking beyond the Royal theatres at Covent Garden and Drury Lane which have dominated most recent accounts of the period, this book examines the day-to-day workings of the Lord Chamberlain's Examiner of Plays and shows that radicalized groups of individuals continuously sought ways to evade the suppression of both playhouses and dramatic texts. Incorporating a wealth of new research, David Worrall reveals the centrality of theatre within busy networks of print culture, politics of all casts, elite and popular cultures, and metropolitan and provincial audiences. Ranging from the drawing room of Queen Caroline's private theatrical to the song-and-supper dens of Soho and radical free and easies, Theatric Revolution deals with the complex vitality of Romantic theatrical culture, and its intense politicization at all levels. This fascinating new study will be of great value to cultural historians, as well as to literary and theatre scholars.
Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the popular British stage from 1750 to 1840. It argues that this illegitimate stage was the site for a plebeian Enlightenment.
£80 million in debt and with financial meltdown a matter of weeks away, in July 2003 Chelsea Football Club were saved from almost certain penury by Roman Abramovich, a reclusive young billionaire that few people outside his native Russia had heard of. Making History, Not Reliving It recounts the first decade of Roman’s rule in London mirrored against a backdrop of an ever-changing, social-media-driven, angst and envy-ridden world where the revolving door of change seems to spin as fast as that of the manager’s at Stamford Bridge. Granular season-by-season detail of exactly how Chelsea amassed three league titles, four FA Cups, two League Cups, a Champions League and a Europa League in ten eventful years is entertainingly supplemented with news and entertainment bulletins and rounded off with enlightening and diverse points of view provided by a broad cross section of supporters unified by their blissful enjoyment of the desperate jealousy of rival fans now only able to relive the history that their own precious club’s once made.
England was a spy culture in the years 1790 through 1820. Restriction, regulation and surveillance formed the dominant discursive context. Ultra-radical artisans developed a discourse based on the revolutionary ideology of Thomas Spence which proposed the corporate ownership of land and the overthrow of the Government by physical force. The Spenceans were considered the most radical of the political groups active during this period, with William Blake, Jeremy Bentham, and Percy Shelley the best known of those spied upon for suspected Speancean activities. This book outlines the battle between repressive seditious laws and the radicals whose weapon was the written and spoken word. David Worrall explores the discursive context of the campaigns against sedition in the 1790s, Colonel Despard's intended coup of 1802, the Spa Fields rising of 1816, the planned Bartholomew Fair insurrection of 1817 and the debacle of the 1820 Cato Street conspiracy. He recovers a lost artisan culture recorded by spies, moles and informers who infiltrated the organizations, debating clubs and taverns where radical speakers called for violent revolution, examining for the first time the speeches, conversations, songs, poems, pamphlets, letters, handbills, trials, interrogations, and arrests which constituted the resistance to the Government's regulation of discourse. Radical Culture features a sympathetic portrait of these revolutionaries gleaned almost entirely from the records of the government spies who helped put them in jail. Worrall brings to life the ultra-radicals, dramatizing what they said, how they reacted under extreme conditions of arrest or impending execution, and how the Government hounded them in their last hours of life.
Tales From The Shed' is an anthology of 34 short stories and articles about Chelsea FC published in association with the 'Big Stamford Bridge Sleep Out' to help raise funds for Stoll, the leading provider of supported housing for vulnerable veterans. Having had the initial idea for 'Tales' in January 2022, editor Mark Worrall enlisted the help of fellow Chelsea authors, 'cfcuk' fanzine writers, bloggers and supporters with a story to tell and gave them an open brief and a four-week deadline to write an article related to the club they love. In alphabetical order, Chris Axon, Cliff Auger, Kelvin Barker, Clayton Beerman, RJ Bonaccorsi, Chelsea Chadder, David Chidgey, Daniel Childs, Alexandra Churchill, Vince Cooper, Kraig Dixon, Neil Fitzsimon, Jason Gibbins, Rick Glanvill, David Johnstone, John King, Martin Knight, Jonathan Kydd, Cammy McHarg, Mark Meehan, Walter Otton, Paul Radcliffe, Iain Rodger, Tim Rolls, Charles Rose, Richard Schaller, Neil Smith, Gary Thacker, Ken Turner, Rowanne Westhenry, Beth Wild and Chris Wright each provided a fascinating and unique 'Tale' and the resulting anthology makes for compelling reading. The timespan from concept to publication was eight weeks. The cover artwork by Richard Schaller features much-missed Chelsea legend Ray Wilkins, the man who inspired Mark Meehan to set up and coordinate the 'Sleep Out', and in 'Tales From The Shed' the detail behind this and the link with Stoll is shared in full. Wilkins once said, "follow your heart and your mind will create" and this is exactly what Mark Worrall and his ensemble of Chelsea literati have done, followed their hearts and created a book that creates awareness of and helps a worthy cause and is deserving of a place on the bookshelf of every Blues fan.
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