Fabrikant, Sara I · Zurich Open Repository and Archive (University of Zurich) · 2017
Depicting information collections in map‐like displays, even if the collections are not themselves explicitly spatial, is an information visualization technique known as spatialization. Spatialization exploits the power of metaphors in graphic displays as cognitive aids, facilitating information seekers to sift more efficiently through, and gain knowledge from, vast amounts of accumulated data, such as medical records, banking transactions, or information‐bearing items archived in online collections. Spatialization has emerged as a scientific research field within GIScience since the early 1990s, inspired by advances in computer graphics, human–computer interaction, and visualization research developing mostly outside of geography. Spatialization involves a systematic transformation of high‐dimensional datasets into lower‐dimensional, visuospatial representations by means of spatial metaphors. This is typically performed in a two‐step process: (i) a computational transformation to rearrange data items based on their content and functional relationships into a logically defined coordinate system; and (ii) the graphic depiction of the spatialized data to facilitate information exploration and knowledge construction.
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Encyclopedia of Geographic Information Science · 2008
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Sara I Fabrikant · Open MIND · 2017
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André Skupin, Sara, Irina Fabrikant · 2010
Researchers engaged in geographic information science are generally concerned with conceptualizing, analyzing, modeling, and depicting geographic phenomena and processes in relation to geographic space. GI Scientists consider spatial concepts, such as a phenomenon’s absolute location on the Earth’s surface, it’s distance to other phenomena, the scale at which it operates and therefore should be represented and studied, and the structure and shape of emerging spatial patterns. Geographic location is indeed a core concept and research focus of GI Science, and this is well reflected throughout the many chapters of this volume. In recent years, however, it has become apparent that the methods and approaches geographers have been using for hundreds of years to model and visualize geographic phenomena could be applied to the representation of any object, phenomenon, worlds (Couclelis 1998). This applies, for example, to the Internet, in which text, images, and even voice messages exist in a framework called cyberspace. Other examples include medical records that have body space as a frame of reference, or molecular data structures that build up the human genome. These abstract information worlds are contained in massive
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Michele Geronazzo · Encyclopedia of Computer Graphics and Games · 2024
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Jan C. Schacher · Oxford University Press eBooks · 2018
Beginning with a brief historical overview of spatial audio and music practices, this chapter looks at principles of sound spatialization, algorithms for composing and rendering spatial sound and music, and different techniques of spatial source positioning and sound space manipulation. These operations include composing with abstract objects in a sound scene, creating compound sounds using source clusters, altering spatial characteristics by means of spectral sound decomposition, and the manipulation of artificial acoustic spaces. The chapter goes on to discuss practical issues of live spatialization and, through an example piece, the ways a number of different algorithms collaborate in the constitution of a generative audio-visual installation with surround audio and video. Finally, the challenges and pitfalls of using spatialization and some of the common reasons for failure are brought to attention.
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The MIT Press eBooks · 2025
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PFAENDER, Fabien, GHITALLA, Franck, LENAY, Charles · OpenGrey (Institut de l'Information Scientifique et Technique) · 2009
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Michele Geronazzo · Encyclopedia of Computer Graphics and Games · 2018
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Schacher, Jan · Zenodo (CERN European Organization for Nuclear Research) · 2018
Beginning with a brief historical overview of spatial audio and music practices, this chapter looks at principles of sound spatialization, algorithms for composing and rendering spatial sound and music, and different techniques of spatial source positioning and sound space manipulation. These operations include composing with abstract objects in a sound scene, creating compound sounds using source clusters, altering spatial characteristics by means of spectral sound decomposition, and the manipulation of artificial acoustic spaces. The chapter goes on to discuss practical issues of live spatialization and, through an example piece, the ways a number of different algorithms collaborate in the constitution of a generative audio-visual installation with surround audio and video. Finally, the challenges and pitfalls of using spatialization and some of the common reasons for failure are brought to attention.
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Nikolina Bobic, Farzaneh Haghighi · ResearchSpace (University of Auckland) · 2022
For architecture and the urban to have relevance in the 21st Century, we cannot merely reignite the approaches of thought and design that were operative in the last century. Moreover, we can no longer afford to reduce them to a neutral backdrop of political realities. Architecture and urban space should be understood as political forces in and of themselves. There is explicit evidence of the inherent role that architecture and the urban play in numerous human-made crises, including but not limited to ongoing and unprecedented global problems – from the refugee crisis, the US-Mexico border, terrorist attacks, detention camps, numerous worldwide urban demonstrations, to climate change, the housing crisis and the coronavirus pandemic. This chapter is structured into three sections, first it discusses the urgency of rethinking the politics of spatialization, followed by outlining the importance of politics in relation to architecture and urban space. The last section highlights the importance of defining and re-defining architecture and the urban, necessary for understanding the political role of architecture and urban space.
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Wilson, Scott, Baalman, M · University of Birmingham Research Portal (University of Birmingham) · 2011
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Alex Sandro da Silva · 2013
Sacred space is structured on several levels. However, most theories in geography of religion anlyses merely the materialized manifestations of sacred. Trough others social sciences is possible to argue that the religion is best characterized by power to encourage types of certain behaviors. Following this premise, based in Ernst Cassirer and Gilbert Durand was possible to construct a theory to approach religion phenomena like a continuous, dynamic and feedbackable process of spatialization. Studying the sacred space through this aproach, there is a possibility of unveiling others levels of spatializations, which would be useful to examine formation and spatial diffusion of recent religious movements.
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Jo Lord, Michail Exarchos · Focal Press eBooks · 2024
The two authors combine their practice-based approaches in a chapter that explores the notion of spatial recontextualization through a series of creative practice stages. These provide the data for investigating: the cyclical relationship of context and content in spatial staging; the delineation of performance vs. production contexts and their influence on spatial mixing; the effect of spatial sonic objects on sample-based musicking; and the narrative implications of intentional dimensionality in creative music production. The examination deploys a practice-based paradigm to illuminate creative phenomena in the making, mixing, and recontextualization of sonic objects. The bricolage approach brings together phenomenological and autoethnographic strategies to draw out reflexive findings from the creative journey, which involves performance, composition, improvisation, beat-making, and era-informed tracking and mixing practices. Vintage sonic signatures are consciously infused with content creation, acting as contextual signifiers. The iterative, developmental outputs result in exponential staging phenomena, which are dynamically shaped and manipulated in consecutive phases. The objectives of the project are to demonstrate the meta-morphosis of performance into production music, the ways in which production music affords surrealist staging practice, the function and affordances of spatial sonic objects within sample-based musicking, and the (re)spatialization of recontextualized compositional outcomes.
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Hassine, Jamel, · HAL (Le Centre pour la Communication Scientifique Directe) · 2021
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Liu, Yanqing · Figshare · 2025
The multi-level causal inference method for population spatialization estimated the population data of China's kilometer grid in 2000, 2010, and 2020
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Liu, Yanqing · Figshare · 2025
The multi-level causal inference method for population spatialization estimated the population data of China's kilometer grid in 2000, 2010, and 2020
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Constraint-based Spatialization, Franois Pachet Olivier, Olivier Delerue · 1998
This paper describes an application of constraint programming to interfaces for audio mixing. MidiSpace is an interface representing each sound source of a musical piece as a graphical icon, as well as an object corresponding to the listener in a window. MidiSpace is coupled to a spatialization system so that moving graphical objects modifies the audio mixing of the musical piece according to the respective position of the sound sources to the avatar. We further introduce a constraint-based mechanism which allows to maintain consistency in the overall mixing. Constraints represent properties of related sound sources, which should always remain true, and may be stated by the user through the interface. When an object is moved, a constraint solver uses the constraints to propagate changes. We describe the library of currently designed constraints, and propose an extension of the system to handle reproduction systems with multiple loudspeakers.
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Zempleni, Andras, Durand, Jean-Louis, Centre National de la Recherche Scientifique (CNRS), 75 - Paris (France). Centre de Recherches Comparees sur les Societes Anciennes · OpenGrey (Institut de l'Information Scientifique et Technique) · 1994
Available from INIST (FR), Document Supply Service, under shelf-number : AR 16183 / INIST-CNRS - Institut de l'Information Scientifique et Technique
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François Pachet, Olivier Delerue · 1998
This paper describes an application of constraint programming to interfaces for audio mixing. MidiSpace is an interface representing each sound source of a musical piece as a graphical icon, as well as an object corresponding to the listener in a window. MidiSpace is coupled to a spatialization system so that moving graphical objects modifies the audio mixing of the musical piece according to the respective position of the sound sources to the avatar. We further introduce a constraint -based mechanism which allows to maintain consistency in the overall mixing. Constraints represent properties of related sound sources, which should always remain true, and may be stated by the user through the interface. When an object is moved, a constraint solver uses the constraints to propagate changes. We describe the library of currently designed constraints, and propose an extension of the system to handle reproduction systems with multiple loudspeakers. 1 Music Spatialization Music spa...
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