These themes will be explored further during Exhibiting Sound, hosted by the University of Alberta in community and cultural spaces around Edmonton, AB. the research community a standard sound corpus with binaural. It was a space filled with resonance and wonder, acoustically rich, bursting with sounds so intense that to me they felt physical, like objects.” It should be noted that binaural sound cannot have a ‘3D. Mostly though, history was so palpable there because I was listening to thatplace so intently. The art world has joined the trend, too, using immersive audio to enhance museum exhibitions with soundscapes to meet audiences growing demand for sensorily immersive experiences. Binaural, or 3D sound, is a recording technique that uses stereo microphones mounted on a human head (or head-shaped object) in order to create a fully believable ambient environmental sound recording, which replicates the original acoustic environment when replayed through headphones. After years of low budgets, the museum was in need of renovation: some of the marble staircases were crumbling old fluorescent lights buzzed and crackled their death throes as they flickered and went dark even the skylights were broken, and birds flew freely throughout the museum, as if nature had already begun to reclaim it like a ruin.
Obviously this was in part due to its ancient subjectmatter, but it also had something to do with the architecture. “While recording there, I felt as if that place made history feel like something palpable, more than any other museum I’d visited up to that point. In effect, binaural beats are said to: reduce anxiety. In this lecture, sound artist and researcher John Kannenberg explores the role of sound design and listening in the gallery and exhibition space: Binaural beats are claimed to induce the same mental state associated with a meditation practice, but much more quickly. A commonplace non-binaural solution is to submit the ‘dry’ input source to reverberation processing and loudspeaker reproduction to create the more musically familiar ‘wet’ sound signal, so that the performer can hear the sound of their violin in a manner more typical of an acoustically live performance space.
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