Sound taxonomy

The progress of taxonomy and development of collections are an investment to assure that students of all taxa have in the future as many pieces of that big picture of phylogeny as possible. This, in turn, can only be done comprehensively and efficiently in proportion to our growth in taxonomic knowledge generally. Without sound taxonomy, we have no idea how to prioritize... 

I believe the apparent inconsistency between issue 1 and 2 can be explained by a careful consideration of what history is and how the present relates to the past. I believe that both statements are deeply true and I intend to address this topic explicitly elsewhere. Here, I shall address only issue 3. Sokal and Sneath seem to assume the existence of an unbiased higher court populated by historians of science. They imply that the critics of their view of Adanson, who were biologists by profession rather than historians, had an axe to grind and were finding fault with Sneath s references to Adanson as a way of questioning the soundness of numerical taxonomy itself. That concern about objectivity is valid, though of course it also points to the possibility that their own interest in Adanson was likewise liable to be biased. 

In Bloom s taxonomy, the evaluation level is where students make judgments about the value of ideas, items, materials, and more. Evaluation is the final level of the Bloom s taxonomy pyramid. It is at this level where students are expected bring in all they have learned to make informed and sound evaluations of material. Bloom s taxonomy is also tied to the learning pyramid which displays that the deeper one descends on the pyramid the higher the retention rate of knowledge. 

The development of the alternative taxonomy departs from a framework for sound categorisation inspired by Pierre Schaeffer s (1966) concept of sound maintenance (Figure 6.1) and to some extent by an article written by Jean-Claude Risset in the book Le timbre ... 

The general structure of the proposed taxonomy is summarised in Table 6.1. The term instrument is used below to refer to specific Chaosynth set-ups that produce the sounds of the respective categories. There are currently five general classes Fixed mass, Flow, Chaotic, Explosive and General textures. 

Sound example are available on the accompanying CD-ROM in the folder taxonomy within the Chaosynth materials. 

The folders and contain sound examples but these files are not part of the installation program. Make sure you have OMS installed on your computer in order to handle MiDi. 

The following steps are to perform a series of empirical studies and experiments in order to find relationships amongst the factors in the taxonomy. In other words, how so we combine multiple sensory channels and find a balance between them In which situation could we use different channels What are the users available communicative channels in different situations How would the multimodal interactive systems look, sound and feell... 

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