Soundscape

Background and Objectives: Architectural spaces are often designed with a strong visual focus, yet their sonic potential remains underexplored. Inspired by the concept of “breathing” that symbolizes life, movement, and vitality, the research project Prana aimed to create a responsive sound installation that enhances the sonic environment in architectural spaces by utilizing efficient wireless communication, sensors, and algorithms, which can evoke the feeling of breathing life into a space, providing visitors with a novel and engaging sensory experience. The designed system offered flexibility for placement and adaptation across various locations. Conducted within the tunnel of Wat Umong in Chiang Mai, Thailand, the exhibition was presented to the public, and the author collected data from visitors for the evaluation. This project serves as an example of how interactive sound design can revitalize architectural environments by creating a dialogue between sound, space, and audience. Methods: The study adopts both research-led and practice-led approaches, examining the interplay between technical design and aesthetic expression. The author collected ideas and designed the technical process of developing interactive sound installation, environmental sound design, multi-channel sound system, and wireless communication to develop the installation. The process of developing and installing the work was closely documented, while visitor experiences were assessed through direct observation and questionnaires during the exhibition period for the evaluation. The collected data was analyzed and presented as results in two aspects, sound design and system design. Results: The sound installation utilized microcontrollers (Arduino) and radio transceivers to process signals from two selected sensors (photoelectric sensor and electric gyroscope) encapsulated in small bells as triggers for algorithmically projecting prepared sounds through a multichannel sound system. The electric gyroscope has been proven to be more effective in representing the movement of the bell in the form of digital data. The collected data from the exhibition reveals that a coherent relationship between sound installation, spatial context, and environmental soundscape forms a vital foundation for innovative sound design. Audience responses emphasized that engagement and satisfaction largely depend on the immersive and experiential qualities of the work, highlighting the significance of site-responsive experimentation and clear design intentions. Conclusions: The Prana project demonstrates how interactive sound design can meaningfully enrich architectural environments by integrating technology, spatial awareness, and aesthetic intention. The findings show that when sound, space, and audience interaction are thoughtfully aligned, architectural settings can be transformed into dynamic, sensory experiences that evoke vitality and presence, much like the metaphor of breathing that inspired the work. Technically, the use of microcontrollers, wireless communication, and motion-based sensing proved effective in creating a flexible and responsive sonic system, with the electric gyroscope offering particularly reliable data for movement-triggered sound generation in this project. Audience feedback confirmed that the success of such installations depends not only on technological capability but also on the experiential coherence and immersion they create. This highlights the importance of site-specific testing, deliberate sound selection, and a clear conceptual foundation. Ultimately, the project offers a practical and artistic framework for future interactive sound installations, highlighting how responsive technologies can animate architectural spaces and foster deeper engagement through sound. Furthermore, developing simple and user-friendly interfaces can extend the accessibility of interactive sound installations.

This paper explores the pedagogical value of beach environments in early childhood education through a relational study involving photo-elicitation with young children and follow-up conversations with early years educators. Drawing on Gibson’s ecological theory of affordances and Deleuze and Guattari’s conception of assemblage, the research examines how children’s encounters with the beach are configured through entangled relations with place, material, and atmosphere across shifting material, spatial and elemental relations. Ontologically, this paper foregrounds the beach as an environment in process - one that affords sensory, affective, and open-ended forms of play. Children’s engagements with seaweed, ash, stones, and soundscapes reveal the value of learning encounters that resist predetermined outcomes. The GoPro camera, used as a research tool, further illustrates how method itself is co-constituted within the assemblage. This paper contributes to broader conversations about posthuman pedagogies and calls for more situated, affective, and ecologically responsive approaches to early childhood education.

این مقاله ارزش پداگوژیک محیط‌های ساحلی را در آموزش دوران کودکی از طریق مطالعه‌ای رابطه‌ای که شامل برانگیختن عکس با کودکان خردسال و گفتگوهای پیگیری با مربیان سال‌های اولیه است، بررسی می‌کند. با تکیه بر نظریه بوم‌شناختی امکانات گیبسون و مفهوم اسمبلژ دلوز و گتاری، این پژوهش بررسی می‌کند که چگونه مواجهه‌های کودکان با ساحل از طریق روابط درهم‌تنیده با مکان، ماده و اتمسفر در بستر روابط متغیر مادی، فضایی و عنصری پیکربندی می‌شود. از منظر هستی‌شناختی، این مقاله ساحل را به‌عنوان محیطی در حال فرایند برجسته می‌کند؛ محیطی که اشکال بازی حسی، عاطفی و باز را فراهم می‌کند. درگیری‌های کودکان با جلبک دریایی، خاکستر، سنگ‌ها و مناظر صوتی، ارزش مواجهه‌های یادگیری را که در برابر نتایج از پیش تعیین‌شده مقاومت می‌کنند، آشکار می‌سازد. استفاده از دوربین GoPro به‌عنوان ابزار پژوهشی، بیشتر نشان می‌دهد که خود روش نیز درون اسمبلژ هم‌ساخته می‌شود. این مقاله به گفتگوهای گسترده‌تر درباره پداگوژی‌های پساانسانی کمک می‌کند و خواستار رویکردهایی موضعی‌تر، عاطفی‌تر و واکنش‌پذیرتر از نظر بوم‌شناختی در آموزش دوران کودکی است.