🇮🇹 LEGGI IN ITALIANO

Online Journal Title: ElectroAcoustics Magazine

Print Series Destination: Arts & Technologies (Annual Print Selection)

Classification / Category: 2026 Official Series · Sound Research & Film Theory / Theoretical-Critical Essay

Article Identifier: Art. 2026.03.en

Publishing Model: Continuous Digital Publication · Peer-Review Selected for Print

Contribution & Peer Review Status: Keynote Paper / Scientific Directorate Essay.

Subjected to methodological rigor verification and archive peer review.

Issue #01 «Electroacustic Imperative»

Indexing & Registrations

ISSN (Online): Application in Progress

ISBN (Print): Reserved for Arts & Technologies 2027

DOI: Pre-assigned (eam.2026.03.en)

Publication Date: April 29, 2026

📥 PDF (ITA) | PDF (ENG)

Editorial and Typographical Note: To bridge European philosophical traditions with international indexing standards in bilingual contexts, Arts & Technologies / ElectroAcoustics Magazine utilizes a hybrid APA 7/Chicago Notes citation framework embedded seamlessly within footnotes. Rather than using parenthetical in-text citations, each footnote pairs the original work's chronological origin with complete translation and pagination metadata [e.g., Metz, C. (1991), ... [Eng. tr. ..., p. XX]]. Readers will also note our signature European typographic hierarchy: guillemets («...») designate core theoretical concepts and primary quotes, double quotation marks ("...") mark nested citations, and single quotes ('...') frame metaphors or scare quotes, with foreign terms uniformly italicized.

A shadow zone opens between the acoustic sculpture of the urban landscape and the total apparatus of cinema. Moving beyond the single case study of the projected event Loving Vincent [1] — this essay explores explore the threshold where technological infrastructure fails not through a mechanical breakdown, but through a suspension of the thought that inhabits it. Through the empirical experience of the Miami Beach SoundScape Park, electroacoustic critique transforms here into an archaeology of the perceptible: an inquiry into the boundary between the vibrant space of the city, the cinematic apparatus, and the sonic ghost haunting a silenced and unfulfilled garden of metal.

Annotated Index & Reading Guide

• I. The Electroacoustic Infrastructure of SoundScape Park. Architectural-acoustic genesis of the project by Frank Gehry and Yasuhisa Toyota designed to overcome the rigidity of the traditional concert hall; the 'utopian' roots of the New World Center linked to the Bauhaus, Walter Gropius, and Iannis Xenakis, alongside North American urban antecedents (Max Neuhaus, Jay Pritzker Pavilion, EMPAC); analysis of the 72-channel hardware and 167 physical loudspeakers (elevated Ballet Bars structures and ground-level Media Hydrantsemitters); specifications of the Meyer Sound D-Mitri/NADIA matrix and the operational mechanics of the Meyer Sound Constellation active acoustic architecture for «WALLCAST» events, with the onset of spatial coherence loss in «Cinema Bypass» mode during the Cinema Series.

• II. Theoretical Genealogies: The North American Model and European Tradition. A comparative historiographical examination between the European tradition of the Acousmonium (Pierre Schaeffer, François Bayle, GRM, Eraldo Bocca with SATOR and AUDIOR) grounded in live manual performance and the «grain» of the loudspeakers, and the North American soundscape model (Raymond Murray Schafer, Alvin Lucier, Maryanne Amacher, Bill Fontana) based on acoustic sculpture, impulse response, and pervasive urban infrastructure.

• III. Operational Criticalities of the Cinema Series: The Epurated Sound. Analysis of Bill Fontana’s installation Sonic Dreamscapes (2018–2020) as the highest expressive vocation of the system; the 2020 pandemic suspension and the daytime mode featuring the Northern Mockingbird; technical decrease in Safe Mode during the Cinema Series; an in-depth study of cinematic physical acoustics, from the ISO 2969 X-curve to «comb filtering», the Haas effect, the phenomenon of «crossover bleed» with urban background noise, and the genesis of the «ghost soundtrack».

• IV. The Aesthetic-Technological Fracture: Between Cinema and Electroacoustic Apparatus. An examination of the conceptual paradox between ordinary, recreational outdoor viewing and the nature of cinema as a total and aesthetic-technological apparatus; the «electroacoustic imperative» as an epistemological nexus of the work of art; a comparison with models of listening and spatial immersion in the United States (Sphere Immersive Sound in Las Vegas, Dolby Atmos Cinema, Envelop SF).

• V. Empirical Analysis and Field Findings. Field recordings from three pivotal moments: the biophonic integration of Sonic Dreamscapes (August 18, 2020); the immersive gold standard utilizing VBAP techniques during the Antonín Dvořák concert (November 15, 2025); the acoustic 'collapse', phase cancellation, and the «audibility gap» recorded during the screening of Loving Vincent (April 22, 2026).

Critical Apparatus. Includes the descriptive media index and credits (hardware framework, audio-video archive of field recordings, and attributions), alongside the annotated bibliography structured into five thematic sections (1. Electroacoustics, Phase Control, and DSP Architectures; 2. Soundscape Studies, Acoustic Ecology, and Urban Sound Art; 3. Architectural Acoustics, Open Spaces, and Spatialization Theories; 4. Film Theories, Audio Reproduction, Philosophy, and Media Semiotics; 5. Institutional Documentation, Reports, Primary Sources, and Case Studies) and the reference filmography.

The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park

Editorial Note. First drafted on April 30, 2026, this essay was fully finalized with its complete theoretical and critical apparatus on September 1, 2026, establishing its definitive monograph structure in view of the scheduled print publication.

Fig. 1 — Night view of the Miami Beach SoundScape Park. In the foreground on the right, one of the steel pylons of the Ballet Barshousing the suspended Meyer Sound loudspeakers; on the left, the projection wall of the New World Center with the base acoustic bunkers.

Part I — The Electroacoustic Infrastructure of SoundScape Park

The SoundScape Park in Miami Beach was created as an architectural-acoustic extension of the New World Center — designed by Frank Gehry with the theoretical intent of dismantling the rigidity of the traditional concert hall through a structural continuity between internal and external space —, with the objective of overcoming the two-dimensionality and spectral thinness of conventional outdoor systems, replacing them with a 360-degree immersive sound field. The infrastructure integrates a total of 167 high-fidelity active loudspeakers directly into the urban landscape, coordinated by the Meyer Sound D-Mitri digital processing matrix manufactured by Meyer Sound Laboratories — founded in 1979 by John and Helen Meyer in Berkeley, California, and a global benchmark in linear audio system design and phase control. The system incorporates 72 independent DSP processing and amplification channels, distributed across two architectural levels, which drive the entire network of 167 physical loudspeakers through zoned driving and parallel links (where individual DSP channels feed loudspeaker clusters on the Ballet Bars or groups of ground-level Media Hydrants emitters to ensure field continuity). The first level comprises the so-called «Ballet Bars», perimeter lattice structures integrated into the landscape design by the firm West 8, upon which suspended arrays are installed to cover the mid and far sound fields. The second level consists of the capillary network of Media Hydrants (ground-level proximity emitters, Fig. 2) conceived to guarantee Wave Field Synthesis and acoustic room simulation via the Constellation system, located among the vegetation and pedestrian pathways and utilized as proximity emitters for the near field. This articulation ensures homogeneous coverage of the area without the need to resort to a single emission point of high acoustic pressure [2].

A renowned exponent of Deconstructivism for the decomposition of volumes and dynamic structures, Gehry (born in Toronto in 1929) overcomes self-referential monumentality in favor of a structural and social approach, conceiving the place of projection as an open place of aggregation. Designed in close collaboration with Japanese acoustician Yasuhisa Toyota (director of Nagata Acoustics, founded in 1971 by Minoru Nagata) and under the artistic direction of Michael Tilson Thomas — bound to Toyota by an acquaintance dating back to the latter’s childhood in Los Angeles and a deep alignment cultivated during the construction of the Walt Disney Concert Hall —, the building is distinguished by its 700-square-meter glass facade and an imposing 650-square-meter exterior projection wall directly facing the 2.5 acres of the park (curated by the landscape firm West 8). The intention of Thomas and Gehry was to found a musical institution capable of dismantling the elitist character of the enclosed auditorium, while Toyota applied complex computational models to integrate the physics of indoor acoustics with outdoor diffusion [3].

The theoretical precedents of the idea of a «democracy of listening» trace back to the intuitions of the Bauhaus and the «Total Theater» theorized by Walter Gropius in 1927, up to the realizations of Iannis Xenakis for the Philips Pavilion(with Le Corbusier, 1958) and his subsequent Polytopes. In the American adaptation of Miami Beach, this idealism translates into a pragmatic synthesis between the extension of public space and the enjoyment of «WALLCAST» concerts — an outdoor free-entry (free entry) audiovisual simulcast apparatus that transforms the building’s massive blank wall into a visual screen for the live projection of musicians performing inside, while the surrounding phonic infrastructure converts into an active acoustic membrane for an open-air immersive listening experience through a directional array architecture and three-dimensional spatialization. The European concept of «social space for all» and theories on the «democratization» of the arts — imported into the U.S. by Walter Gropius at Harvard and Mies van der Rohe in Chicago — were assimilated by American architecture in the second half of the 20th century through the elaboration of the Gesamtkunstwerk and the visions of the Bauhaus. On the plane of spatialization, early European experiments in sound envelopment — from the Philips Pavilion by Iannis Xenakis and Charles-Édouard Jeanneret-Gris (Le Corbusier) (1958) to Hans Scharoun's Berlin Philharmonie (1963) — represent the conceptual foundation for the genesis of DSP-controlled American urban pavilions, such as the Jay Pritzker Pavilion in Chicago and SoundScape Park in Miami Beach. Furthermore, the «vineyard-style» configuration devised by Hans Scharoun in Berlin, to overcome the non-natural rigidity of traditional shoebox halls, constitutes the most direct typological and acoustic model for the work of Frank Gehry and Yasuhisa Toyota at the New World Center [4].

Inaugurated in January 2011 and celebrated by the international press (from the cover of «Landscape Architecture Magazine» to «The New York Times») as an unprecedented invention of acoustic urbanism, the park was designed in primis precisely for the enjoyment of «WALLCAST» concerts. To this end, the infrastructure utilizes the Meyer Sound Constellation active acoustic architecture platform and the D-Mitri digital processing matrix — a distributed computing architecture on an Ethernet AVB network configured for routing 72 audio channels and time-delay alignment to the microsecond. Unlike traditional sound reinforcement systems, Constellation acts directly upon the impulse response of the open space: through a capillary network of ambient microphones, digital signal processors (DSP), and algorithms for regenerative reverberation and sound field synthesis, the system detects the signal originating from the internal stage and calculates in real time the early reflections and reverberant tail characteristic of a high-profile auditorium. In this way, the technology virtually recreates outdoors the spatiality typical of an enclosed concert hall, translating the perimetric boundaries of the hall into the open space and operating in constant synergy with D-Mitri to calculate active delay compensation relative to the physical placement of each loudspeaker [5].

While during «WALLCAST Concerts» engineers activate the presets of the Constellation algorithm with configurations meticulously calibrated to simulate the reflections and impulse response of an enclosed environment, preventing phase cancellation phenomena, during the SoundScape Cinema Series [6] — a free-admission film showcase promoted by the City of Miami Beach with the New World Symphony — and conventional film playback, the system defaults to «Cinema Bypass» mode or a simplified 'stereo distribution'.

According to a well-known function of audio engineering and hi-fi preamplifiers, 'bypass' or 'HT Bypass' indicates the exclusion of internal processing/DSP circuits to route the direct signal solely to the main outputs. The expression «Cinema Bypass» is adopted here by borrowing the known function in a diagnostic-critical key. In the context of SoundScape Park, the designation defines the operational practice of disabling the 360° immersive matrix and the Meyer Sound Constellation algorithm during screenings of the Cinema Series, reducing the system to a mere parallel stereophonic safety distribution on the main front. When spatialization and time-alignment algorithms are disabled in «Cinema Bypass» mode, the film signal (generally stereo or 5.1) is routed in parallel to the loudspeakers without the necessary phase corrections, triggering comb filtering («comb filtering»), frequency response distortions, and the formation of broad non-coherent listening zones. More precisely, from an electroacoustic standpoint, activating «Cinema Bypass» mode entails converting the mix signal (whether an original L/R stereophonic track or a 5.1 mix) into a cascaded parallel channel distribution or an unmonitored dual mono sum. In the absence of an active decoding matrix capable of calculating delay compensation in relation to the physical distances of the 167 loudspeakers across the park's 2.5 acres, the system merely duplicates the L and R signals passively across multiple lines. This 'brute' architecture nullifies the original stereophonic or multichannel separation, causing phase-shifted wave-front overlapping, phase cancellation due to incoherent summation, and the resulting flattening of the dramaturgetic and spatial soundscape designed for the film.

Deprived of specific electroacoustic expertise in the control room and the supervision of the Constellation algorithm — tasked with the dynamic management of phase delays (delay time) and the temporal alignment of the entire matrix of 167 loudspeakers —, the environment forfeits its nature as a SoundScape to regress into a mere high-density diffusion system lacking spatial coherence, wherein the listener perceives a chaotic and muddled overlap of the identical signal.

Notes to Part I

[1] Daniele, R., & Daniele, J. (2026), «Film Analysis: The Digital Cadaver — A Critique of Loving Vincent», in ElectroAcoustics Magazine (Continuous Digital Edition) / Arts & Technologies, Issue #01 «The Electroacoustic Imperative», Vol. 1 (Annual Print Selection), RDM Records, 2026 Series, Art. 2026.02.en. DOI: eam.2026.02.en. Available at: https://rdmrecords.com/film-analysis-the-digital-cadaver The screening of Loving Vincent (2017) at the Miami Beach SoundScape Park took place on April 22, 2026, as part of the official programming of the Cinema Series. The screening of Loving Vincent (directed by D. Kobiela and H. Welchman, 2017) at Miami Beach SoundScape Park took place on April 22, 2026, as part of the official programming of the Cinema Series.

[2] See Meyer Sound Laboratories (n. d.), official portal: https://meyersound.com/; Meyer Sound Laboratories (2010), D-Mitri User Guide, Berkeley, CA: Meyer Sound Laboratories; Poletti, M. A. (2010), «Active Acoustic Systems for Concert Halls», Journal of the Audio Engineering Society, 58, no. 11, pp. 948–966; Everest, F. Alton, & Pohlmann, K. (2015), Master Handbook of Acoustics, 6th ed., New York: McGraw-Hill.

[3] See Friedman, M. (2001), Frank Gehry, Architect, New York: Guggenheim Museum Publications; van Bruggen, C. (1997), Frank O. Gehry: Guggenheim Museum Bilbao, New York: Guggenheim Museum Publications; Webb, M. (2011), «New World Center, Miami Beach», in Architectural Review, 229, pp. 42–49; West 8 (2011), Miami Beach SoundScape / Lincoln Park Project Case Study, Rotterdam / New York: West 8 Urban Design & Landscape Architecture, URL: https://www.west8.com/projects/miami-beach-soundscape/; Nagata Acoustics (2011), New World Center Concert Hall Project Case Study, Tokyo / Los Angeles: Nagata Acoustics, URL: https://www.nagata-i.com/portfolio/new-world-center-concert-hall/; Gehry Partners, LLP (2011), New World Center: A Social Laboratory for Classical Music, Architectural Statement, Miami Beach: New World Symphony; Sonitus Consulting (2017), Miami SoundScape / Lincoln Park Project Case Study, URL: http://www.sonitusconsulting.com/project/miami-soundscape-lincoln-park/. On typological precedents and comparison with other American urban pavilions, such as the Walt Disney Concert Hall in Los Angeles, see Part II.

[4] For the theoretical foundations of the European architectural avant-garde, see: Gropius, W. (1955), Scope of Total Architecture, New York: Harper & Brothers; Xenakis, I. (1971), Musique. Architecture, Tournai: Casterman [Eng. tr. Music and Architecture, Stuyvesant, NY: Pendragon Press, 1992]. For the assimilation of European avant-garde models in American architecture, see: Giedion, S. (1941), Space, Time and Architecture: The Growth of a New Tradition, Cambridge: Harvard University Press; Frampton, K. (1980), Modern Architecture: A Critical History, London: Thames & Hudson. For electroacoustic spatialization applied to architecture, see: Sterne, J. (2003), The Audible Past: Cultural Origins of Sound Reproduction, Durham: Duke University Press; Blesser, B., & Salter, L.-R. (2007), Spaces Speak, Are You Listening? Experiencing Aural Architecture, Cambridge: MIT Press. For the Berlin precedent taken as a model in Miami Beach: Scharoun, H. (1964), «Die Berliner Philharmonie», in Bauwelt, 55, pp. 1627–1632. For details on the official programming of «WALLCAST» concerts, see: New World Symphony, WALLCAST® Concerts Series Schedule, available at https://www.nws.edu/tickets/wallcast-concerts/.

[5] On critical reception and urban-acoustic impact at the January 2011 inauguration, see: Ouroussoff, N. (2011, January 23), «Architecture Review: Gehry Design Plays Fanfare for the Common Man», in The New York Times (URL: https://www.nytimes.com/2011/01/24/arts/design/24gehry.html); Bennett, P. (2011, May), «Park of the Future», in Landscape Architecture Magazine, 101, no. 5, pp. 82–93. The audio design concept and conception of the outdoor electroacoustic infrastructure were led by Sonitus Consulting (with Fred Vogler), while system integration, cabling, and high-fidelity installation of the Meyer Sound equipment were handled by Pro Sound & Video and Solotech under the direction of senior integrator Bryan Anthony Edens (cf. Live Design, 2011, June 13, «Meyer Sound Constellation Revolutionizes Outdoor Music Presentation at Miami Beach SoundScape», URL: https://www.livedesignonline.com/meyer-sound-constellation-revolutionizes-outdoor-music-presentation-at-miami-beach-soundscape). For the operation of the Constellation system, phase control, and the D-Mitri matrix, see: Meyer Sound Laboratories (n. d.), official portal, cit.; Meyer Sound Laboratories (2010), D-Mitri User Guide, cit.; Poletti, M. A. (2010), «Active Acoustic Systems for Concert Halls», Journal of the Audio Engineering Society, 58, no. 11, pp. 948–966; New World Symphony (n. d.), WALLCAST® Concerts Series Schedule, cit.

[6] The weekly outdoor screening schedule (mounted on the 650-square-meter exterior projection wall) is curated directly by the Tourism and Culture Department of the City of Miami Beach and ranges from classics of film history to auteur cinema and commercial entertainment titles (cf. City of Miami Beach, 2011–present, SoundScape Cinema Series: Program, Tourism and Culture Department, Miami Beach: City of Miami Beach, official series URL: https://www.miamibeachfl.gov/soundscape-cinema-series/; see also Peikert, M., 2025, October 23, «This beloved outdoor movie series is back: here is the full lineup of films to catch», in Time Out Miami, URL: https://www.timeout.com/miami/news/this-beloved-outdoor-movie-series-is-back-here-is-the-full-lineup-of-films-to-catch-102325).

Part II — Theoretical Lineages: The North American Model and the European Tradition

From a theoretical and historiographical perspective, the design of SoundScape Park belongs to the North American matrix of the «soundscape», which finds its theoretical formalization in the work of Canadian composer Raymond Murray Schafer (1933–2021) and in the research conducted within the World Soundscape Project at Simon Fraser University in Vancouver during the 1970s [7]. Schafer is the central figure of North American sound art and acoustic ecology, having introduced the concept of «soundscape» and defined the acoustic environment as a complex assemblage of natural and anthropic sounds. Positioned along this line of inquiry are some of the most celebrated physical and installational explorations: Alvin Lucier (1931–2021), in his experiments on the physics of space (including his famous 1969 work I Am Sitting in a Room), demonstrated how architecture acts as an active filter on the propagation of frequencies; Maryanne Amacher (1938–2009), with her architectural installations entitled Music for Sound-Joined Rooms, utilized the physical structure of buildings as an acoustic conduit to stimulate psychoacoustic phenomena and otoacoustic emissions in the listener; Bill Fontana (born 1947), a student of John Cage and author of urban acoustic sculpture interventions, relocates the sounds of city infrastructure into different public contexts, highlighting the link between acoustic perception and architectural space [8]. A picture of the North American vision thus emerges, that of a permanent immersive infrastructure wherein acoustic architecture merges with the urban environment to transform public space into a site-specific resonance field: a dynamic ecosystem articulated through the categories of geophony, biophony, and anthrophony that surmounts the hierarchical separation of the traditional concert hall, conceiving technology as an uninterrupted spatial prosthesis capable of reorganizing the perception of territory and the community dimension of urban space.

As previously outlined, while the «democratic» vision of architectural acoustics — or more precisely «communitarian», where any overtly political reference would be misplaced in this context — possesses consolidated European roots, the soundscape framework articulates an entirely autonomous and peculiar vision, thereby distinct from the European tradition of the Acousmonium created in 1974 by François Bayle at the Groupe de Recherches Musicales (GRM) in Paris. Conceived as a «loudspeaker orchestra» for the public projection of fixed-sound music, the Acousmonium evolved through precise and pivotal theoretical and structural milestones, featuring among its key figures Pierre Schaeffer, Jacques Poullin, Iannis Xenakis, Christian Clozier, and Annette Vande Gorne, while finding significant development in the Italian experience through Eraldo Bocca — designer of the AUDIOR and SATOR systems based on speaker arrays and Bessel configurations — and Dante Tanzi for the formalization of performative practice at the control desk. This genealogy marked the history of spatialization in relation to console interpretation, as well as the differentiated design of loudspeakers aimed at transcending pure technical neutrality to confer a specific timbral and dynamic personality upon each speaker [9]. In this context, sound projection functions as a true «second-degree writing» and a live interpretation grounded in the manual modulation of registers and the «grain» of individual loudspeakers. Here, the figure of the performer is indispensable: through spatial control at the console, the performer projects and sculpts the phono-fixed material, turning loudspeakers into differentiated, dynamic sound sources capable of articulating the signal with precise timbral and spatial calibration.

In the American context, space is not 'interpreted live' as an open text; rather, it is designed as an 'acoustic sculpture' integrated into the architecture, wherein technological infrastructure serves to redefine the perception of the urban ecosystem. In the Acousmonium, spatial control operates as a live compositional-performative interpretation of a phono-fixed page: the performer (the «acousmate») acts on the faders in real time to «play» space as an instrument, dynamically selecting the timbral options of the various loudspeakers. In SoundScape Park, spatial control using dedicated consoles and control systems [10] performs instead a function of real-time spatialization and acoustic-environmental compensation engineering for the live concert, designed to translate the dynamic range and impulse response of the indoor concert hall into the open-air space. However, while in automated DSP processing systems—even when programmed to react dynamically to environmental stimuli—the response remains confined within algorithmic automatisms of simulation and technological transparency (analogous to the formal automatism aiming for medium invisibility in classical cinema), in the Acousmonium tradition the sensitive presence of the author who thinks 'behind the machine' and interacts at the mixing desk remains unsurpassable. It is the performer's poietic intelligence that converts the phono-fixed medium into an act of spatial re-composition irreducible to any predictive calculation [11].

As we have seen, alongside this primary symphonic-concert function, the system fulfills its second structural role tied to urban and environmental «sound art», through which the immersive and pervasive infrastructure connects to Schafer's soundscape and the installational experiments outlined above. For the purpose of theoretical disambiguation, the comparative outline below summarizes the European and American conceptions of phonic/electroacoustic space:

Table 1 — Comparative Outline of Electroacoustic Spatialization Paradigms.

Environmental «sound art» is not, however, mere signal diffusion, but a sort of anatomy of space: it engages the symphonic and polymorphic function of an intricate constellation of loudspeakers and signal nodes to make the system an 'active', resonant filter, wherein the urban acoustic landscape liquefies into a living web of psychoacoustic phenomena and environmental perception. SoundScape Park is situated within an established line of North American research dedicated to the integration of sound into public and university spaces. Max Neuhaus’s permanent installation Times Square (also known as Hearing Array, created in 1977 and restored in 2002), located beneath the pedestrian pavement of Manhattan, is considered the first urban work of invisible acoustic sculpture in the United States. On an architectural level, a direct antecedent is represented by the Jay Pritzker Pavilion in Millennium Park, Chicago (2004), also designed by Frank Gehry and equipped with an overhead trellis of loudspeakers integrated with a LARES/Talaske sound reinforcement system. In academic and research domains are the installations at the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) in Troy, New York, and the experiments at Pioneer Works in Brooklyn, geared toward the use of Wave Field Synthesis for the creation of immersive environments. Compared to historical North American precedents in urban sound art and synthetic diffusion — historically confined to temporary gallery settings, academia, or pure summer spectacle —, SoundScape Park stands out for an obvious structural singularity. It represents the sole large-scale, permanent civic-institutional infrastructure in which active acoustic compensation technology is transformed into a constitutive element of contemporary urbanism, daily extending the experience of the grand symphonic hall into public urban space [12].

The anomaly of SoundScape Park occurs when a system built for this complex, immersive architectural vocation is reduced to a simple, flat PA system for commercial or entertainment film screenings.

Notes to Part II

[7] See Schafer, R. M., (1977), The Soundscape: Our Sonorous Environment and the Tuning of the World, New York: Knopf; Truax, B., (1984), Acoustic Communication, Norwood: Ablex Publishing; Sterne, J., (2003), The Audible Past: Cultural Origins of Sound Reproduction, Durham: Duke University Press.

[8] See Lucier, A., (1980), Chambers: Scores by Alvin Lucier, Middletown: Wesleyan University Press; Amacher, M., (2020), Sound Joined Rooms: Selected Writings, New York: Blank Forms Edition; Fontana, B., (2008), «The Relocation of Ambient Sound: Urban Sound Sculpture», Leonardo, vol. 41, no. 2, pp. 154–158; SFMOMA, (2010), Bill Fontana: Sonic Shadows [Exhibition archive sheet], curated by R. Frieling, San Francisco: San Francisco Museum of Modern Art, URL: https://www.sfmoma.org/press-release/sfmoma-presents-bill-fontanas-sonic-shadows/.

[9] See Bayle, F., (1993), Musique acousmatique, propositions... positions, Paris: Buchet/Chastel [Acousmatic Music: Proposals... Positions]; Vande Gorne, A., (2002), L'interprétation spatiale [Spatial Interpretation], Ohain: Musiques & Recherches. For the historical-organological genesis of spatialization devices in the European tradition, alongside the Acousmonium inaugurated by François Bayle in 1974 at the Espace Pierre Cardin in Paris, notable mention should be made of the Pupitre de relief (1952) devised by Jacques Poullin for the Groupe de Recherche de Musique Concrète (GRMC), and the Gmebaphone (1973) by Christian Clozier for the GMEB in Bourges. Regarding the development and applications of the Acousmonium in Italy, see the contributions of Eraldo Bocca and Dante Tanzi for the design and performance practice of the SATOR system—inaugurated in 2012 at the San Fedele Auditorium in Milan, which employs dipolar loudspeakers and Bessel configurations to shape environmental response—and the mobile AUDIOR infrastructure, consisting of 80 loudspeakers driven by high-fidelity analog amplification (see Daniele, R., 2012, «Inaugurazione dell'Acousmonium Sator» [Inauguration of the Acousmonium Sator], ElectroAcoustics Magazine / Arts & Technologies Archive, available at: https://rdmrecords.com/it/acusmonium-sator-inaugurazione; Bocca, E., & Tanzi, D., 2018 June 20–23, «Showing the Acousmatic Sounds through the Mobile Acousmonium AUDIOR», Proceedings of the Electroacoustic Music Studies Network Conference (EMS18), Florence, URL: http://www.ems-network.org/IMG/pdf_BOCCA_TANZI_EMS18.pdf).

[10] See Part III

[11] For the sake of analytical rigor, it should be kept in mind that in the «cinema of transparency», by masking cuts between shots and aligning the point of view with that of the characters, the technical apparatus «disappears» to secure the audience an illusion of continuity and narrative immersion free of perceptible edits. The rupture of this visual illusion—whose historical roots and developments trace back to Italian Neorealism in the 1940s and the French New Wave between the 1950s and 1960s—exposes the apparatus of cinema, oscillating between the impersonal enunciation of the modern text and the marked gaze of the author, thereby transforming the film into a metalinguistic embodiment of the medium. Similarly, in the electroacoustic domain, «transparency of the support» aims on the one hand to eliminate the limitations and noise of recording technology, offering the illusion of a spectrally neutral sound free of mediation; on the other hand, within generative and interactive soundscapes, this automatism shifts to the algorithmic level, where technology responds to environmental stimuli in real time and with stochastic (random) leeway, framing mediation no longer as an invisible passive background, but as a reactive and explicit process. See Bazin, A., (1958), Qu'est-ce que le cinéma? I. Ontologie et Langage, Paris: Éditions du Cerf [Eng. tr. What Is Cinema? Vol. 1, Berkeley: University of California Press, 1967]; Daniele, R., (2010), Ascenseur pour l'échafaud, il luogo della musica nell'audiovisione [Elevator to the Gallows, the Place of Music in Audiovision], Milan: RDM Records, pp. 51–52; Marie, M., (1997), La Nouvelle Vague. Une école artistique, Paris: Nathan [Eng. tr. The French New Wave: An Artistic School, Oxford: Wiley-Blackwell, 2002]; Metz, C., (1977), Le Signifiant imaginaire. Psychanalyse et cinéma, Paris: Union Générale d'Éditions [Eng. tr. The Imaginary Signifier: Psychoanalysis and the Cinema, Bloomington: Indiana University Press, 1982]; Metz, C., (1991), L'énonciation impersonnelle, ou le site du film, Paris: Méridiens Klincksieck [Eng. tr. Impersonal Enunciation, or the Place of Film, New York: Columbia University Press, 2016].

[12] Cfr. Neuhaus, M. (1994), Involuntarily, Ostfildern: Cantz; Cooke, L. et al., 2009, «Max Neuhaus: Times Square, Sightless Works», New York: Dia Art Foundation); Talaske, R. (2005), «The Acoustics of the Jay Pritzker Pavilion: Acoustic Design of an Outdoor Venue», The Journal of the Acoustical Society of America, 117(4), p. 2498.); Oldfield, R., & Shirley, B. (2010), «The Perception of Focused Sources in Wave Field Synthesis as a Function of Listener Angle», in Audio Engineering Society Convention 128, Paper No. 8053.

Part III — Operational Criticalities of the Cinema Series: The Epurated Sound

The actual operational efficacy of this concept was empirically evaluated on August 18, 2020, during the public reception of Bill Fontana’s permanent sound installation Sonic Dreamscapes. The work represents the first permanent commission of pervasive sound art integrated into civil landscape architecture in the United States [13].

Through a network of hydrophones and piezoelectric vibration transducers placed in the waters of Biscayne Bay and high-sensitivity accelerometers fixed to city mechanical infrastructure, Fontana extracts the inaudible acoustic matter of the urban landscape, capturing the inaudible frequencies and internal resonances of Miami Beach's infrastructure (hydraulic pumping systems, avian micro-fauna, coastal hydrodynamics), re-articulating them within the park into a high-spectral-definition «sound choreography», or subjecting them to the deterministic procedures of real-time algorithmic synthesis (to be understood as an automated process rather than an executive live electronics performance) via the Meyer Sound D-Mitri computing matrix. The work translates into electroacoustic terms the notion of «invisible acoustic sculpture» inaugurated by Max Neuhaus with Times Square in 1977, transforming the casual listener into an 'active perceptive subject' catapulted into the city's sonic continuum [14]. The commission of Sonic Dreamscapes to Bill Fontana emerged within the Art in Public Places program promoted by the City of Miami Beach in synergy with the New World Symphony and park management entrusted to the West 8 studio. After demonstrating proven experience in metropolitan-scale urban installations (such as the permanent intervention for the Dia Art Foundation at Times Square and works for the San Francisco Museum of Modern Art), Fontana faced at Miami Beach the challenge of realizing the first pervasive sound art work integrated into American civil architecture [15].

The casual and disinterested audience — detached from the logic of structured electronic music — thus becomes an 'active perceptive subject' through the simple act of crossing the city-center park, even if merely conceiving it as an 'extemporaneous' acoustic decor or a high-tech charm operation for tourist consumption: the installation effectively documented the system's utmost expressive vocation. If Sonic Dreamscapesrepresents the venue's permanent software asset, August 2020 constituted a privileged «threshold» juncture for site analysis: the suspension of activities due to pandemic lockdowns temporarily removed the park from the logic of the mass event, restoring it to its primary identity as an acoustic sculpture. During that summer, Fontana launched a specific 2020 iteration of his research entitled Sonic Dreamscapes 2020. The project was grounded in a meditation on the «quality of timelessness» and the disruption of ordinary reality during the crisis. The specific conceptual variation of the work presented during the acute phase of the COVID-19 pandemic capitalized on the temporary rarefaction of urban anthropic noise to remap the dynamic response of the system [16]. The daytime mode, operating in the late afternoon hours (from 12:00 PM to 8:00 PM), alternated and merged hydrophonic recordings of the bay's seabed with the calls of the Northern Mockingbird (Mimus polyglottos), processed through resonance filters that exploited the native impulse response of the audience-free park and the dense noise floor of Miami Beach tourism to structure a sculptural environment. This conceptual iteration responded to theoretical research on «temporal stasis» and the suspended timelessness of the pandemic crisis, translating the suspension of ordinary time into spatial form [17].

As documented in privileged field surveys — in the late afternoon of that late August, around 7:00 PM, in the system's daytime mode, within a quieter, singularly responsive city that allowed the listening of 'unbounded space' with extraordinary expressive efficacy —, this condition of full operational capability with the 2020 iteration of Bill Fontana’s Sonic Dreamscapes represents an exemplary and rare case of the venue's high electroacoustic power. Under the profile of operational practice and actual usage frequency, SoundScape Park's ten-million-dollar-plus infrastructure lies for the vast majority of the time in a state of 'acoustic dormancy'. The full-scale activation of the architecture — via the Meyer Sound Constellation algorithm, 3D spatialization through Vector Based Amplitude Panning (VBAP), and the dynamic deployment of the Media Hydrants — constitutes a seasonal exception or one bound to specific events, restricted almost exclusively to the season of the New World Symphony’s «WALLCAST» Concerts (approximately 7 dates per season compared to over 30 screenings of the Cinema Series, both between October and May [18]), sound art commissions for major institutions, or special projects presented in selected editions of the contemporary art fair Art Basel Miami Beach [19]. This event is held annually in early December at the adjacent Miami Beach Convention Center. During Art Basel, SoundScape Park is occasionally transformed into the centerpiece for Public Art and Sound Art Programming. Beyond Bill Fontana’s crucial Sonic Dreamscapes installation (in its 2018–2020 iterations), among the very few other selected occasions where the park expressed its three-dimensional phonic matrix, we recall the commissions of the City of Miami Beach’s Art in Public Placesprogram, with curatorial programming led by David Gryn (founder of Daata Editions and curator of the Film & Sound sector of Art Basel Miami Beach from 2011 to 2019), and the video-art project DAATA X THE BASS: Voluntary Associations (December 4–6, 2020), co-curated by Gryn and Leilani Lynch, featuring the screening and diffusion of video-sound works by Claire Boucher (Grimes), Petra Cortright, and Jeremy Couillard [20]. Between 2014 and 2017, within the Surround Sound program, Gryn coordinated the structure and ad hoc spatialization across 167 loudspeakers of three-dimensional sound works conceived specifically for the park, such as Ain Bailey’s NSD/TSD (a multichannel composition based on the internal and external environmental acoustics of the New World Center) and Zoë Buckman’s One Round (focused on the spatialized rhythmicity of a punching bag), alongside immersive installations by August Burns, Molly Palmer, and Susannah Stark [21].

As anticipated, the system's peak performance resides in the «WALLCAST» Special Live Simulations — live-to-park multimedia performances and productions in which the orchestra performs the repertoire live inside the auditorium of the New World Center while the audio direction applies active three-dimensional spatialization, real-time wind compensation, and Vector Based Amplitude Panning (VBAP) for outdoor diffusion. Specifically, VBAP is a psychoacoustic positioning algorithm that calculates and distributes amplitude gains across adjacent triplets of loudspeakers — in a three-dimensional configuration between elevated Ballet Bars and ground-level Media Hydrants — allowing a sound source to be 'anchored' and virtually panned with extreme sharpness. This architecture emerged in an emblematic manner during the simultaneous live-to-park projection and diffusion of symphonic performances by Antonín Dvořák [22] — as analyzed in the second sampled acquisition with video from November 15, 2025 (whereas the recording of August 18, 2020, is the first). Within this framework of institutional management, the key figure and true 'insider' guiding sound operations is Roberto Toledo, Director of Audio Services for the New World Center and the New World Symphony, who manages the mixing and audio transmission protocols of the park operating via DiGiCo Quantum consoles alongside Meyer D-Mitri and NADIA processing matrices. It should also be noted that the infrastructure is periodically awakened during technical sessions of extraordinary maintenance, recalibration, and architectural updating conducted by audio engineering teams from the New World Symphony, Solotech (under the leadership of senior integrator Bryan Anthony Edens), and Meyer Sound Laboratories, in continuity with the acoustic design and system integration specifications originally outlined by Sonitus Consulting. Evidence of these surveys and technological evolutions dates back to February 2026, when the system underwent a complete structural upgrade from the legacy D-Mitri platform to the new Constellation architecture based on Meyer Sound NADIA processors; on this occasion, impulse response and thermo-hygrometric compensation measurements for large-scale sound content were conducted under the direct coordination of Toledo and Solotech/Meyer technicians, inheriting the urban acoustics models originally mapped out by Yasuhisa Toyota of Nagata Acoustics and the audio systems design study by Sonitus Consulting [23].

Outside these narrow temporal windows and special events entrusted exclusively to expert audio engineering, the most frequent mode through which the public interacts with the system is the weekly screening of the Cinema Series (every Wednesday from October to May). In these ordinary cinematic contexts, the system is systematically downgraded to «Cinema Bypass» or stereophonic Safe Mode, leaving over 80% of the 167 loudspeakers inactive or phase-incoherent, and confining the extraordinary potential of the 'sound sculpture' to a marginal fraction (estimated between 10% and 15%) of total programming hours. The result is an institutional, technical, and urban paradox. SoundScape Park is a masterpiece of hardware that frequently translates into a failure of software: although its infrastructure is engineered to fascinate as a daytime 'sound sculpture' breathing alongside the city, the system is in fact rarely active. World-renowned acoustic engineers — from Yasuhisa Toyota to Edens's integration team to Roberto Toledo — devote millimeter-precise calibration protocols (culminating in the upgrade to NADIA processors in February 2026) to adapt the 167-speaker matrix to the micro-climatic variations of the Miami Beach coast; yet, this precision engineering remains completely silenced for over 80% of public viewings, where the urban infrastructure is reduced to an elementary drive-in projector with stripped-down stereo audio.

When an infrastructure boasting an array of 167 loudspeakers operates in Safe Mode during the Cinema Series — whose eleventh season restarted in autumn 2020 with the spatial demarcation of social distancing circles on the lawn —, it exposes the operational laziness of the setup, caused by the lack of adequate delay compensation and the refusal to employ the system's spatial capabilities. The audio mixing restricts itself to using the elevated Ballet Bars for front-channel delivery, leaving the Media Hydrants at ground level substantially underutilized. Under this setup, acoustic «crossover bleed» and a profound antagonism between hardware and software emerge. Urban ambient noise and audience clutter — the micro-environment of picnic blankets and lawn chairs (Fig. 2, Fig. 3) — bleed into the listening field because the film's audio signal is treated as a «secondary transmission» rather than a «primary acoustic event», in keeping with an advanced audiovisual conception. As outlined previously, the Meyer Sound Constellation infrastructure — based on regenerative reverberation algorithms and virtual space synthesis — is employed here not as a mere tool for acoustic correction, but as a true expanded resonance matrix capable of re-articulating the park's sound geography in real time. While Bill Fontana’s Sonic Dreamscapes installation is designed to stretch the Meyer Sound electroacoustic architecture to its maximum dynamic and spatial capacity [24], cinematic projection treats sound as functional background noise by limiting itself to a conventional front-directed PA (Public Address) system, failing to activate the very pervasive diffusion system that defines the site's spatial identity.

The problem with this deployment is intrinsically functional. The majority of screened films are mixed in conventional stereo or 5.1 formats whose encoding is designed for enclosed spaces with controlled geometry in accordance with the ISO 2969 standard (X-Curve) [25]. Extrapolating such a mix into an open-air environment with free perimetry requires a redistribution of the channel matrix that accounts for sound wave propagation over medium-to-large distances. Merely routing such a signal across an array of 167 speakers without a dedicated decoding and spatialization algorithm inevitably generates «comb filtering» phase cancellation and drastically degrades speech intelligibility, producing a 'hollowed-out' acoustic perception [26]. When two or more identical signals reach the listening point with microscopic phase differences (typically between 0.1 and 15 milliseconds), a resulting constructive and destructive interference causes the incoherent summation of 167 unaligned loudspeakers, causing the accidental cancellation of portions of the frequency spectrum (particularly in the mid-range and vocal tones). To bypass these issues without having to calibrate an ad hoc mixing console, production and screening crews default to conservative routing aimed solely at the main front speakers, converting 80% of the park's footprint into an 'acoustically dead zone'. Nevertheless, even without a native immersive multichannel mix (Atmos or Ambisonics), proper electroacoustic practice would dictate psychoacoustic upmixing techniques and reasoned signal distribution, metadata extraction, and the decomposition of stereo or 5.1 audio into a 72-channel independent sound field. In a facility equipped with a D-Mitri matrix like SoundScape Park, correct execution would entail routing ambient components, Foley, and original score to the rear Ballet Bars and perimeter Media Hydrants via rigorous delay compensation algorithms, guaranteeing that dialogue localization remains strictly locked to the front screen. The use of phase correlation matrices and decorrelated decoding filters would allow the separation of components, preventing the listener from perceiving rear sound sources as doublings of the visual source [27]. Sending an L/R stereo feed exclusively to the front section represents the most expedient shortcut; it prevents echo-like phase delays (the Haas effect) [28], but surrenders spatial control. The 'law of the first wave front' establishes that the human auditory system localizes a sound source in the direction of the first wave front reaching the ear, provided that subsequent signals arrive within a time window between 1 and 30 milliseconds. In SoundScape Park, if the perimeter Ballet Bars were used without real-time delay calculations based on distance, the sound originating from the rear structures would exceed the 30 ms threshold relative to the screen, being perceived not as an immersive environment, but as an actual unstable acoustic echo.

Examining the critical analysis of Loving Vincent [29] from an electroacoustic perspective, this methodological failure — which generates the «audibility gap» and the «urban crossover» of the surrounding ecosystem — acted as a secondary layer of failure for the film (and for cinema screenings in general within the Cinema Series): the 'unresolved space' of a genius like Van Gogh is bent and distorted when technology, meant to amplify its light, creates instead a hollow, phase-cancelled vacuum. Supported by the previously noted aesthetic-linguistic deficiencies of the music score[30], a «ghost soundtrack» condition is thus established: made of an audio stream that is physically present, yet entirely incapable of 'possessing' and shaping the architectural space of the park.

Fig. 2 — A view of the park's lateral perimeter and the surrounding urban ecosystem. The perspective highlights the arrangement of the audience in the green area and the presence of the Media Hydrants (the cylindrical proximity emitters), positioned directly in the lawn along the perimeter of the amphitheater.

Fig. 3 — Informal seating arrangement of the outdoor audience during a screening of the Cinema Series. Frontal view of the large 650 m2 projection wall, showing the layout of spectators on the lawn and the perimeter framing of the Ballet Bars and palm trees on the right.

Notes to Part III

[13] See Fontana, B., Sonic Dreamscapes (2018–permanent), urban electroacoustic installation and site-specific acoustic sculpture at Miami Beach SoundScape Park, Miami Beach (FL); Fontana, B., (2008), «The Relocation of Ambient Sound: Urban Sound Sculpture», Leonardo, vol. 41, no. 2, pp. 154–158; Landscape Architecture Foundation [LAF], (2016/2021), SoundScape Park: Case Study Brief, Landscape Performance Series, ArcGIS StoryMaps / LAF. Available at: https://storymaps.arcgis.com/stories/ea09d3176b0c4560ac1d9b306ad58aaa.

[14] Cf. Neuhaus, M., (1994), Involuntarily, cit.; Sterne, J., (2003), The Audible Past: Cultural Origins of Sound Reproduction, Durham: Duke University Press.

[15] See West 8, (2011), Miami Beach SoundScape / Lincoln Park Project Case Study, cit.; City of Miami Beach, (2018, December 5), City of Miami Beach Unveils 'Sonic Dreamscapes' by Bill Fontana at SoundScape Park [Press release and acquisition sheet, Art in Public Places program], Miami Beach: City of Miami Beach Cultural Affairs Division / Art in Public Places. Available at: https://www.miamibeachfl.gov/bill-fontana-sonic-dreamscapes/.

[16] Harvestworks Digital Media Arts Center, (2020, August 11), Bill Fontana: Sonic Dreamscapes 2020 [Artistic research sheet and archive stream], in collaboration with UCLA Art Sci Center, New York: Harvestworks. Available at: https://archive.harvestworks.org/aug-11-sonic-dreamscapes-2020-by-bill-fontana/; see also Lucier, A., (1980), Chambers: Scores by Alvin Lucier, cit., for the theoretical value of silence and room resonance.

[17] See also Amacher, M., (2020), Sound Joined Rooms: Selected Writings, cit.

[18] An examination of the official New World Symphony schedules for the 2025–2026 and 2026–2027 seasons documents the seasonal distribution of full-scale electroacoustic WALLCAST® events. Specifically, the 2025–2026 season comprised seven overall dates: four in the autumn/winter of 2025—Mahler’s Symphony No. 9(November 1), Dvořák’s Symphony No. 9 "From the New World" conducted by Domingo Hindoyan (November 15), the Austrian Masterworks program conducted by Manfred Honeck (December 13), and Sounds of the Season (December 20)—and three in the spring of 2026 (January 31, February 21, and the season finale on May 2). Similarly, the 2026–2027 seasonal schedule presents a seven-date structure, with six events held between October and February—Beethoven’s Symphony No. 9 conducted by Stéphane Denève (October 10, 2026), Prokofiev's Violin (November 21), Brahms 3 (December 12), Sounds of the Season (December 19), Strange Magic: Ravel + Stravinsky (January 30, 2027), and Mahler 1 (February 20, 2027)—alongside the closing performance of Gershwin, Adams & Connesson on May 1, 2027. For official programming details, see: New World Symphony, WALLCAST® Concerts Series Schedule, cit. In contrast, the SoundScape Cinema Series, hosted by the City of Miami Beach at SoundScape Park with free weekly admission every Wednesday at 8:00 PM projected onto the New World Center wall, spans the full seasonal timeframe from October through May. By way of illustration, the complete schedules for the past and current seasons are detailed below (2025–2026 and 2026–2027 Seasons). Thunderbolts (directed by Jake Schreier, USA, 2025; screened on October 1, 2025); The Phoenician Scheme (directed by Wes Anderson, USA, 2025; October 8, 2025); Karate Kid: Legends (directed by Jonathan Entwistle, USA, 2025; October 15, 2025); Frankenstein (directed by James Whale, USA, 1931; October 22, 2025); Beetlejuice Beetlejuice (directed by Tim Burton, USA, 2024; October 29, 2025); Jurassic World Rebirth (directed by Gareth Edwards, USA, 2025; November 5, 2025); Superman (directed by James Gunn, USA, 2025; November 12, 2025); Perfect Days (directed by Wim Wenders, Japan/Germany, 2023; November 19, 2025); How to Train Your Dragon (directed by Dean DeBlois, USA, 2025; November 26, 2025); Lilo & Stitch (directed by Dean Fleischer Camp, USA, 2025; December 10, 2025); The Nightmare Before Christmas (directed by Henry Selick, USA, 1993; December 17, 2025); Shrek (directed by Andrew Adamson and Vicky Jenson, USA, 2001; January 7, 2026); It's Never Over, Jeff Buckley (directed by Amy Berg, USA, 2025; January 14, 2026); Freakier Friday (directed by Nisha Ganatra, USA, 2025; January 21, 2026); Mission: Impossible – The Final Reckoning (directed by Christopher McQuarrie, USA, 2025; January 28, 2026); Nickel Boys (directed by RaMell Ross, USA, 2024; February 4, 2026); Love & Basketball (directed by Gina Prince-Bythewood, USA, 2000; February 11, 2026); Crooklyn (directed by Spike Lee, USA, 1994; February 18, 2026); Devotion (directed by J. D. Dillard, USA, 2022; February 25, 2026); La Vie En Rose (directed by Olivier Dahan, France, 2007; March 4, 2026); Cabrini (directed by Alejandro Gómez Monteverde, USA, 2024; March 25, 2026); Shrek 2 (directed by Andrew Adamson, Kelly Asbury, and Conrad Vernon, USA, 2004; April 1, 2026); Captain America: Brave New World (directed by Julius Onah, USA, 2025; April 8, 2026); A Minecraft Movie(directed by Jared Hess, USA, 2025; April 15, 2026); Loving Vincent (directed by Dorota Kobiela and Hugh Welchman, Poland/UK, 2017; April 22, 2026); Shrek the Third (directed by Chris Miller and Raman Hui, USA, 2007; April 29, 2026); Past Lives (directed by Celine Song, USA/South Korea, 2023; May 6, 2026); The Ballad of Wallis Island (directed by James Griffiths, UK, 2025; May 13, 2026); Cunningham (directed by Alla Kovgan, Germany/France/USA, 2019; May 20, 2026); Shrek Forever After (directed by Mike Mitchell, USA, 2010; May 27, 2026). Selena (directed by Gregory Nava, USA, 1997; October 7, 2026); The Goonies (directed by Richard Donner, USA, 1985; October 14, 2026); Casper (directed by Brad Silberling, USA, 1995; October 21, 2026); The Addams Family (directed by Barry Sonnenfeld, USA, 1991; October 28, 2026); Project Hail Mary (directed by Phil Lord and Christopher Miller, USA, 2026; November 4, 2026); Flubber (directed by Les Mayfield, USA, 1997; November 11, 2026); Supergirl (directed by Craig Gillespie, USA, 2026; November 18, 2026); Creed (directed by Ryan Coogler, USA, 2015; November 25, 2026); The Nightmare Before Christmas(directed by Henry Selick, USA, 1993; December 9, 2026); Matilda (directed by Danny DeVito, USA, 1996; December 16, 2026); Elf (directed by Jon Favreau, USA, 2003; December 23, 2026); Hamnet (directed by Chloé Zhao, UK/USA, 2025; January 6, 2027); The Princess and the Frog (directed by John Musker and Ron Clements, USA, 2009; January 13, 2027); Warrior (directed by Gavin O'Connor, USA, 2011; January 20, 2027); Mean Girls (directed by Mark Waters, USA, 2004; January 27, 2027); King Richard (directed by Reinaldo Marcus Green, USA, 2021; February 3, 2027); Sarah's Oil (directed by Cyrus Nowrasteh, USA, 2025; February 10, 2027); The Pursuit of Happyness (directed by Gabriele Muccino, USA, 2006; February 17, 2027); Jump In! (directed by Paul Hoen, USA, 2007; February 24, 2027); Goat (directed by Tyree Dillahay, USA, 2026; March 24, 2027); Eternity (directed by David Freyne, USA, 2025; April 7, 2027); The Parent Trap(directed by Nancy Meyers, USA, 1998; April 14, 2027); Wicked: For Good (directed by Jon M. Chu, USA, 2025; April 21, 2027); Toy Story 5 (directed by Andrew Stanton, USA, 2026; April 28, 2027); The Hunger Games: The Ballad of Songbirds and Snakes (directed by Francis Lawrence, USA, 2023; May 5, 2027); The Muppets (directed by James Bobin, USA, 2011; May 12, 2027); Past Lives (directed by Celine Song, USA/South Korea, 2023; May 19, 2027), and Top Gun (directed by Tony Scott, USA, 1986; May 26, 2027). For official calendar listings and seasonal updates, see: City of Miami Beach, SoundScape Cinema Series: Program, cit.; Peikert, M., 2025, October 23, This beloved outdoor movie series is back: here is the full lineup of films to catch, cit.; Gulliksen, J., 2026, September 1, SoundScape Cinema Series: Free outdoor movies in Miami Beach, «Miami on the Cheap», URL: [https://miamionthecheap.com/free-movie-at-soundscape/.

[19] See Landscape Architecture Foundation [LAF], (2016/2021), SoundScape Park: Case Study Brief, Landscape Performance Series, cit.

[20] See The Bass Museum of Art & Daata, (2020), DAATA X THE BASS: Voluntary Associations at SoundScape Park, exhibition program and public screenings, curated by David Gryn and Leilani Lynch, Miami Beach: The Bass / SoundScape Park. Available at: https://thebass.org/art/voluntary-associations-soundscape-park/.

[21]See Art Basel in Miami Beach, (2016, November 30 – December 4), Surround Sound & Film Sector at SoundScape Park, press release and official program, curated by David Gryn, Daata Editions / Artprojx, Miami Beach: Art Basel / MCH Group; Gryn, D., (2012), Artprojx Director David Gryn On Art Video at ABMB, Interview, Whitewall Magazine, available at: https://whitewall.art/art/artprojx-director-david-gryn-on-art-video-at-abmb/; Gryn, D., (2016), Surround Sound at Art Basel in Miami Beach 2016, archive technical sheet, David Gryn Blog / Daata, available at: https://davidgryn.wordpress.com/2016/11/08/surround-sound-at-art-basel-in-miami-beach-2016/.

[22] See Video 3, included in the case study materials of this analysis, alongside the subsequent section IV. Empirical Analysis and Field Findings.

[23] See Meyer Sound Laboratories, (n.d.), official portal, cit.; Meyer Sound Laboratories, (2010), D-Mitri User Guide, Berkeley, CA: Meyer Sound Laboratories; Meyer Sound Laboratories, (2026), New World Symphony WALLCAST: Immersive Audio Upgrade, News & Technical Case Study, Berkeley, CA: Meyer Sound Laboratories, URL: https://meyersound.com/news/new-world-symphony-wallcast/; Sonitus Consulting, (2011–2017), Miami SoundScape / Lincoln Park Project Case Study & Audio Architecture Design, cit.; West 8, (2011), Miami Beach SoundScape / Lincoln Park Project Case Study, cit.

[24] Cf. Ahnert, W., & Steffen, F., (1999), Sound Reinforcement Engineering: Fundamentals and Practice, London/New York: Spon Press / Routledge, pp. 215–240; Poletti, M. A., (2010), «Active Acoustic Systems for Concert Halls», cit.

[25] See ISO 2969:2015 (2015), Cinematography — B-chain electro-acoustic response of motion-picture control rooms and indoor theatres — Specifications and measurements, Geneva: International Organization for Standardization; LoBrutto, V., (2002), Sound for Film and Television, Burlington: Focal Press, pp. 112–128.

[26] See Everest, F. A., & Pohlmann, K., (2015), Master Handbook of Acoustics, cit

[27] See Rumsey, F., (2001), Spatial Audio, Oxford: Focal Press, pp. 145–170.

[28] See Haas, H., (1972), «The Influence of a Single Echo on the Audibility of Speech», Journal of the Audio Engineering Society, vol. 20, no. 2, pp. 146–159.

[29] See. Daniele, R., & Daniele, J., 2026, Film Analysis: The Digital Cadaver — A Critique of Loving Vincent, cit.The analysis highlights how the drastic underutilization of the system—restricted solely to the front loudspeakers without delay management—produces a «ghost soundtrack» and a clear «audibility gap». The phonic incoherence of the space and the crossover with ambient urban noise and audience noise tame the dramatic charge of the film, stripping the painted surface of its ontological resonance and reducing the visual text to a sterile simulation.

[30] Ibid.

Part IV — The Aesthetic-Technological Fracture: Between Cinema and the Electroacoustic Apparatus

The underutilization of the system during the Cinema Series is not a logistical issue or a technical accident, but rather the symptom of a cultural and conceptual fracture. Outdoor film viewing is indeed framed through the Anglo-American perspective of community entertainment (drive-ins, recreational pop events, «picnic screenings»), wherein sound is reduced to a mere stereophonic «utility broadcast», downgraded to a simple intelligible component for passive consumption and managed for the sole purpose of minimizing technical complications.

Yet, this approach gives rise to at least two pervasive criticalities. In the first place, such outdoor cinema is hosted and conducted within a park that boasts one of the most advanced sound architectures in the world—whose technical details have been extensively described thus far—which inevitably suffers from non-use or an overt deficiency the moment it is paired with cinematic projection. Secondly and consequently, it is necessary to precisely frame the very nature of the cinematic apparatus. As a total apparatus and the privileged matrix in which all forms of expression converge and redefine themselves, cinema represents the historical-critical juncture at which the work of art definitely emancipates itself this side of traditional categories and genres of artistic practice: within a centuries-long continuity that intertwines reproducibility, ontological presence, poetic semiotics, linguistic deconstruction, and the philosophy of the image, cinema has established itself as the aesthetic-technological and historical-polyphonic art par excellence, capable of absorbing and transfiguring every preceding, present, or yet-undefined paradigm. If cinema has established itself as the privileged apparatus for a redefinition and re-origination of the work of art and its modes of generating signification within a transdisciplinary framework, this side of rigid disciplines and conceptual boundaries, the «electroacoustic imperative» constitutes the contemporary epistemological juncture of this reticular openness. To recognize the historical-artistic and aesthetic value of technological practice means understanding that sound and the audiovisual are not simple surface languages, but the very root of thought; within this transversal space, electroacoustic technology asserts itself not as a mere instrument of reproduction, but as the formal, processual, and ontological architecture of signification and infinite possible worlds. «This side of categories», a solid theoretical interweaving connects the philosophy of Being and linguistics to the theories of film and technological listening. Originary téchne is not mere instrumental technique (reduced to engineering calculation), but rather poíesis, production and un-concealment of Being (Aletheia). Correlating the aesthetic (from Ancient Greek aísthesis, «sensory perception») to the technological demolishes the traditional dichotomy between «form» (content artistic in intent) and «medium» (hardware, loudspeakers, resolution), affirming that the technology of the apparatus is itself sensory matter, web and structure of creation, and the substance of perception. Incapacitating the system to a passive stereo bypass thus directly impairs the work on an ontological and aesthetic level, degrading it to a standing-reserve and utility consumption (Gestell) [31]. The entire cinematic apparatus is based on the «sense of possibility»: an ethical and cognitive disposition capable of not yielding to the primacy of mere factual reality (Wirklichkeitssinn), discerning in what exists merely one among many provisionally actualized states. Within the framework of the electroacoustic apparatus, Möglichkeitssinn defines the capacity of the infrastructure to disclose unprecedented spatial-temporal tiles, liberating the event from the determinism of mechanical reproduction or emancipating the latter toward an openness to an originary condition of immanence [32]. Along the debate regarding the ontological imprint of the image and the phenomenology of acousmatic listening, the evolution of the audio-visual apparatus dialogues directly with the revolution of «reduced listening», with the formalization of the sound object and the «apport de réel», and with the conception of the Acusmonium as a loudspeaker orchestra for spatial projection [33]. Where the audio track decomposes and unhinges visual continuity, the thought of «différance» intertwines with the semiotics of the «cinema of poetry», the psychoanalysis of the cinematic signifier, and the taxonomy of the «sound-image» liberated from action, proving that sound is an entirely autonomous formal and temporal structure [34].

Sound in cinema is not a secondary accessory—not even when cinema is projected outdoors, and all the more so if diffusion occurs through one of the most advanced systems in the world—but rather a dimension that determines the signification of the event, contributing to the efficacy of the apparatus under every profile and, naturally, at the level of perception and the ontological resonance of space [35]. When an installation of SoundScape Park's caliber applies its vast potential to cinematic sound reproduction, justice will be done not only to cinema and the audiovisual, but to the system itself, whose characteristics are the fruit of historical-aesthetic trajectories evolved through decades of sound art as much as pure algorithms. Dignity will thus be restored to its epistemological essence, strictly tied to the forms of awareness that, within technological art, only the theories and historical-artistic and analytical developments of cinema could have determined.

We are therefore not denying the excellence of North American audio engineering or the great tradition of cinematic sound design, nor the contribution of the great masters who have shaped the history of cinema worldwide, but rather highlighting the paradox between an extraordinary technological infrastructure and the absence of its actual deployment toward a genuine epistemological advancement of the arts. SoundScape Park in Miami Beach already possesses—permanently—an array of speakers and spatial processors (Meyer Sound Constellation / SpaceMap) comparable to, or even exceeding, that of many research centers and experimental events. The system is fully capable of decoding spatial Dolby Atmos tracks or performing real-time psychoacoustic upmixing for outdoor cinema. To understand why this represents a missed opportunity in Miami, it suffices to observe how spatialized sound in cinema is instead deployed in other major U.S. contexts, such as the Sphere Immersive Sound in Las Vegas, 3D object-based audio systems in Los Angeles, or the immersive experience of Envelop in San Francisco.

Developed by Sphere Entertainment in collaboration with HOLOPLOT, the WFS / Beamforming system (Sphere Immersive Sound) employs approximately 1,600 X1 Matrix Array modules and 167,000 individually controlled loudspeaker drivers. The technology leverages the algorithmic processing of Wave Field Synthesis and 3D Audio-Beamforming to project coherent sound beams at a distance without acoustic decay [36]. Developed by Dolby Laboratories, Dolby Atmos Cinema (a «cinematic object-based» audio system) allows the independent management of 128 audio tracks and up to 64 discrete loudspeaker feeds, moving beyond physical channel mixing via dynamic vector positioning in space (X,Y,Z) [37]. Finally, Open-Source and Pop-Up Immersive Spaces (Envelop SF) are permanent (32 loudspeakers at The Midway, San Francisco) and mobile (Envelop Pop-Up) listening platforms based on the Envelop for Live software for real-time Ambisonics and spatial encoding [38]. On a philological level, it should be highlighted that the European context also possesses advanced acoustic spatialization architectures applied to cinema and audiovisual media—ranging from auditoriums equipped with 3D object matrices (Dolby Atmos and Meyer Sound Cinema systems) to Wave Field Synthesis experiments conducted by research centers such as IRCAM or TU Berlin. However, while in Europe such solutions historically remain restricted to the domain of specialized post-production, international festivals, or academic institutions, the North American model has attempted—despite the contradictions analyzed here—to translate these architectures into civic infrastructures and permanent open-air urban spaces [39].

The adoption of three-dimensional spatialization and sound as a structural element has fostered direct synergies between directors and sound engineers, oriented toward the creation of works modeled on the specificities of these complex electronic and acoustic architectures. The following cases warrant mention. Gravity (2013) by Alfonso Cuarón implies the theorization and application of the «immersive point-of-audition» via Dolby Atmos: the absence of air in the cosmic void is transfigured by moving the sound perspective and music in close alignment with the subjective viewpoint of the astronauts' helmets [40]. Postcard from Earth (2023) by Darren Aronofsky was the first filmic work natively designed for presentation within Las Vegas's Sphere Immersive Sound, in which object mixing and the 16K audio-visual matrix were spatially mapped onto the building's architecture [41]. With Christopher Nolan and Denis Villeneuve (Dunkirk, 2017; Dune, 2021), the use of acoustic mass, psychoacoustic illusions (such as the Shepard Tone), and home/theatrical Atmos architectures conceived in direct synergy with sound designers Richard King and Mark Mangini made sound a properly sculptural and sensory material [42].

The absence from program lineups of the cited North American immersive technologies of historical masterpieces with complex phonic architectures—such as the works of David Lynch or Andrei Tarkovsky—responds only in minimal part to the sheer technical difficulty of managing the multidimensional reticle of their audio tracks. Ultimately, it reflects the broader intrinsic, hermeneutic, and formal «difficulty» of such works, within which the ultra-avant-garde treatment of sound is situated in a structural and indissociable manner [43].

However, the hypothesis of full activation for SoundScape Park's 167 loudspeakers does not presuppose an exclusive or necessary application reserved for experimental or avant-garde cinema. On the contrary, the spatial vocation of the system would find immediate and effective justification even in mainstream or animated cinema featured in the Cinema Series programs (from Disney productions to major saga cinema such as Star Wars) [44], whose soundtracks are inherently born with layers of Foley, ambient effects, and orchestral scores designed to envelop the viewer. Such an operational decision would align seamlessly with the founding mission of these parks: to extend the engagement with the work of art to the community without the economic barrier of expensive indoor theater tickets, while simultaneously elevating the level of the collective audiovisual experience across any genre or category of cinematic product.

The critical issue of the Cinema Series therefore does not reside in the selection of programmed titles, but in the a priori refusal to distribute the signal across the park's entire acoustic surface, choosing instead to restrict projection to a simple L/R stereo front, thereby relinquishing the opportunity to transform public outdoor viewing into a genuine aesthetic-technological experience.

Notes to Part IV

[31] Cf. Benjamin, W. (1936), Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Paris: Zeitschrift für Sozialforschung [Eng. tr. The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Cambridge, MA: Harvard University Press, 2008]; Heidegger, M. (1950), «Der Ursprung des Kunstwerkes» (1935/1950), in Holzwege. Frankfurt am Main: Vittorio Klostermann [Eng. tr. «The Origin of the Work of Art», in Off the Beaten Track, Cambridge: Cambridge University Press, 2002, pp. 1–56]; Heidegger, M. (1953), «Die Frage nach der Technik», in Vorträge und Aufsätze. Pfullingen: Neske [Eng. tr. The Question Concerning Technology and Other Essays, New York: Harper & Row, 1977].

[32] Cf. Musil, R. (1930–1943), Der Mann ohne Eigenschaften, Berlin: Rowohlt [Eng. tr. The Man Without Qualities, New York: Knopf, 1995].

[33] For the debate of filmic modernity on the ontological imprint of the visual, and on the theorization of the «apport de réel» provided by the acoustic dimension: see Bazin, A. (1958), Qu'est-ce que le cinéma? I. Ontologie et Langage, Paris: Éditions du Cerf [Eng. tr. What Is Cinema? Vol. 1, Berkeley: University of California Press, 1967]; Chion, M. (1988), La Toile trouée. La parole au cinéma, Paris: Cahiers du Cinéma [Eng. tr. The Voice in Cinema, New York: Columbia University Press, 1999]; Chion, M. (1990), L'Audio-Vision. Son et image au cinéma, Paris: Nathan [Eng. tr. Audio-Vision: Sound on Screen, New York: Columbia University Press, 1994]. For the foundations of reduced listening, the phenomenology of the sound object, and spatial projection via Acusmonium, cf. Schaeffer, P. (1966), Traité des objets musicaux, Paris: Éditions du Seuil [Eng. tr. Treatise on Musical Objects, Berkeley: University of California Press, 2017]; Bayle, F. (1993), Musique acousmatique: propositions... positions, cit.

[34] Cf. Derrida, J. (1967), De la grammatologie. Paris: Éditions de Minuit [Eng. tr. Of Grammatology, Baltimore: Johns Hopkins University Press, 1976]; Derrida, J. (1967), La voix et le phénomène. Paris: Presses Universitaires de France [Eng. tr. Speech and Phenomena, Evanston: Northwestern University Press, 1973]; Pasolini, P. P. (1972), Empirismo eretico. Milano: Garzanti [Eng. tr. Heretical Empiricism, Bloomington: Indiana University Press, 1988]; Metz, C. (1977), Le Signifiant imaginaire. Psychanalyse et cinéma, cit. [Eng. tr. The Imaginary Signifier: Psychoanalysis and the Cinema, Bloomington: Indiana University Press, 1982]; Metz, C. (1991), L'énonciation impersonnelle, ou le lieu du film, cit. [Eng. tr. Impersonal Enunciation, or the Place of Film, New York: Columbia University Press, 2016]; Deleuze, G. (1985), Cinéma 2: L'image-temps. Paris: Éditions de Minuit [Eng. tr. Cinema 2: The Time-Image, Minneapolis: University of Minnesota Press, 1989]; Marie, M. (1997), La Nouvelle Vague. Une école artistique, Paris: Nathan [Eng. tr. The French New Wave: An Artistic School, Oxford: Wiley-Blackwell, 2002].

[35] For the theorization of the primacy of sound, transdiegetic spatialization, and the «electroacoustic imperative», see specifically the theoretical framework outlined in the contributions composing the entirety of Issue 01 of this journal («The Electroacoustic Imperative»), of which this essay forms a part.

[36] See Sphere Entertainment Co. & HOLOPLOT, Sphere Immersive Sound Unveiled, Press Release, Las Vegas, July 2023. URL: https://www.prnewswire.com/news-releases/sphere-entertainment-unveils-the-most-advanced-concert-grade-audio-system-in-the-world-sphere-immersive-sound-powered-by-holoplot-301883641.html

[37] Cf. Robinson, B. (2012), «Dolby Atmos: Next Generation Audio for Cinema», Journal of the Audio Engineering Society(JAES), Vol. 60, No. 11, pp. 1002–1014. URL: https://www.dolby.com/technologies/dolby-atmos/

[38] See Envelop Acoustic Space Project, Envelop SF: 32-Channel Spatial Audio Environment, San Francisco, CA. URL: https://www.envelop.us/envelop-sf/

[39] Cf. Brandenburg, K., Brix, S., & Sporer, T. (2004), «Wave Field Synthesis: From Research to Applications», in Proceedings of the 12th European Signal Processing Conference (EUSIPCO), Vienna: EURASIP, pp. 1369–1376; Berkhout, A. J., de Vries, D., & Vogel, P. (1993), «Acoustic Holography by Wave Field Synthesis», in The Journal of the Acoustical Society of America, 93(5), Melville: Acoustical Society of America / AIP, pp. 2764–2778; Caussé, R., Bresson, J., & Warusfel, O. (2004), Wave Field Synthesis at IRCAM: Open-Source Software and Applications for Spatial Audio, Paris: IRCAM / Centre Pompidou; Daniel, J. (2001), Représentation de champs acoustiques, capture-transmission et rendu de scènes sonores 3D dans le cadre de l'Ambisonie, PhD Thesis, Paris: Université Paris 6 / France Télécom R&D.

[40] Cf. Idrovo, R., & Pauletto, S. (2019), «Immersive Point-of-Audition: Alfonso Cuarón’s Three-Dimensional Sound Design Approach», in Music, Sound, and the Moving Image, Vol. 13, Issue 1, Liverpool: University Press, pp. 35–58. DOI: 10.3828/msmi.2019.3.

[41] Giardina, C. (2023), «Darren Aronofsky on Making 'Postcard from Earth' for the Sphere in Las Vegas», in The Hollywood Reporter, URL: https://www.hollywoodreporter.com/movies/movie-news/darren-aronofsky-postcard-from-earth-1235610029/

[42] Beck, J. (2016), Designing Sound: Noise, Aesthetics, and Film Performance, New Brunswick: Rutgers University Press.

[43] Cf. Schafer, R. M. (1977), The Tuning of the World, cit.; Chion, M. (1990), Audio-Vision: Sound on Screen, cit.; Chion, M. (1992), David Lynch, Paris: Cahiers du Cinéma [Eng. tr. David Lynch, London: British Film Institute, 2006]; Devlin, W. J. & Biderman, S. (eds.) (2011), The Philosophy of David Lynch, Lexington: The University Press of Kentucky; Pontara, T. (2020), Andrei Tarkovsky's Sounding Cinema: Music and Meaning from Solaris to The Sacrifice, London/New York: Routledge; Sergi, G. (2004), The Dolby Era: Film Sound in Contemporary Hollywood, Manchester: Manchester University Press; Tarkovsky, A. (1986), Sculpting in Time: Reflections on the Cinema, London: Bodley Head; Whittington, W. (2007), Sound Design & Science Fiction, Austin: University of Texas Press; Wissner, R. A. & Reed, K. P. (eds.) (2021), Music in Twin Peaks: Listen to the Sounds, London/New York: Routledge.

[44] See Note 18.

Part V — Empirical Analysis and On-Site Findings

The empirical analysis conducted on-site through direct acoustic recordings and evaluations clearly illustrates the gap between the structure’s potential and its operational criticalities. During the acquisition on August 18, 2020 (at approximately 6:47 PM), focused on Bill Fontana’s sound installation Sonic Dreamscapes (Video 1), the park demonstrates an intrinsic alignment between hardware architecture and software control. In the multilayered soundscape generated by the work of art, the synthetic textures of the hydrophone-derived drones merge with the organic emissions of the Northern Mockingbird (Mimus polyglottos). The Meyer Sound D-Mitri platform actively manages the 360-degree field, eliminating phase cancellation issues and imparting a clear three-dimensional depth to the sound. The integration is such that the high frequencies projected by the system are nearly indistinguishable from the actual bird calls among the palm trees, while the voices of passersby and children in the foreground coexist with the acoustic flow without conflicting overlap. Unlike conventional cinematic projections, the audio possesses a material friction and occupies the space organically: the Constellation system calculates the park’s reflections in real time, recreating a true virtual room capable of supporting and unifying the sonic message.

The performance «gold standard» of the New World Center was further documented during the performance of Antonín Dvořák’s concerto on November 15, 2025 (Video 2). On this occasion, the system expressed its «true form» through a fully spatialized and immersive 3D sound, governed by complex algorithms capable of compensating for wind action and urban background noise. Visual and acoustic observation of the Media Hydrants — the gray cylindrical bollards distributed across the lawn — revealed their function as surround and ambient channels: through calibrated digital delays, they diffused the reverberant tail and acoustic 'bloom' typical of the internal auditorium. Concurrently, the suspended Ballet Bars ensured correct source localization via Vector Based Amplitude Panning (VBAP) technique, projecting the sound in precise alignment with the musician’s image on the large projection wall. In the concrete bunkers located at the base of the wall, the subwoofers vigorously restored the low-frequency resonance of cellos and timpani, testifying to hardware pushed to the maximum of its potential (whereas, in ordinary film screenings, these units often remain underutilized or entirely deactivated).

The relevance of Antonín Dvořák (1841–1904) within the concert programming of the New World Center resides in the programmatic value of Symphony No. 9 in E minor, Op. 95 "From the New World" (1893). Dvořák’s masterpiece synthesizes the moment in which the European symphonic tradition codifies a distinctly North American sound identity for the first time, integrating spiritual roots, Native chants, and the vast evocations of the Western landscape. Its performance by the New World Symphony—an institution conceived to train the cadre of 21st-century orchestral performance—constitutes a direct call to the construction of a "New World" musical aesthetic, mirroring the architectural and cultural mission of the building designed by Frank Gehry. From a technical and electroacoustic standpoint, the score stands as an ideal testbed for the Meyer Sound Constellation DSP architecture: its wide dynamic ranges (from the pianissimos of the woodwinds in the Largo to the timbral peaks of brass and percussion in the Allegro con fuoco), alongside the contrapuntal density and timbral layering, require the 72-channel spatialization system to deliver a perfectly linear frequency response and rigorous phase coherence. The November 15, 2025 performance demonstrated the infrastructure’s capacity to render the depth and acoustic-spatial perspective of the symphonic orchestra in the open-air environment of SoundScape Park, positioning itself as an undisputed performance gold standard relative to the limitations that emerged during cinematic broadcasts [45].

Conversely, the empirical analysis of the screening of Loving Vincent, recorded on April 22, 2026 (Video 3), provides clear evidence of the structural failure of the «Cinema Bypass» mode. In this context, the «audibility gap» emerges with stark clarity: despite a potential array of 167 active loudspeakers, the acoustic signal appears flat and chromatically impoverished, remaining rigidly crushed against the front wall without any spatial expansion. The absence of a dedicated sound field managed by the Media Hydrants forces the soundtrack to compete directly with «urban crossover» (the ambient noise of the city), whose decibel sound pressure matches that of the dialogue. The lack of necessary phase corrections creates a hollow acoustic vacuum, transforming what should be high-fidelity sound into an overstretched stereo signal marked by obvious «comb filtering» phenomena. The technology designed to enhance the work of art ultimately dematerializes it, originating a true «ghost soundtrack»; the aesthetic and theoretical implications of this dematerialization of the artist’s voice are critically discussed [46].

In this unconditional surrender to minimal technical effort, the park’s imposing steel scaffold ceases to be a resonant architecture and becomes a cage. Enormous machines of silent metal objectify the sound, reducing it to identical tracks or summing channels in parallel, incapacitated even from rendering the basic original stereophonic spatiality of the film. The signal is thus brutally reclinating against the front wall alone: 167 loudspeakers — a phonic cathedral among the most advanced in the world — confine a depowered, crushed, and absent sound. While the mechanical actors of this monumental machine lie inert or degraded to mere proximity amplifiers — this side of the undeniable, ideological, and technical-aesthetic greatness of its creators —, the audiospectator finds themselves trapped in a cage of threatening and unnatural silence. It is an absence that transforms the promise of an unprecedented experience of acoustic envelopment and pure immersion into the metallic presence of an inert prison, foreign to living matter.

Video 1 — Empirical analysis of Bill Fontana’s sound installation Sonic Dreamscapes (August 18, 2020). Documentation of the ideal alignment between Meyer Sound hardware and the Constellation algorithm: hydrophone drones and the song of the Northern Mockingbird (Mimus polyglottos) merge into a three-dimensional sound field free of phase cancellations.

Video 2 — The acoustic «Gold Standard»: Performance of the Dvořák concert (November 15, 2025). Demonstration of the system in full 3D spatialization: coherent activation of the Media Hydrants for reverberant bloom, deployment of the Ballet Bars using the VBAP technique, and active bunker subwoofers.

Video 3 — Evidence of the «Ghost Soundtrack» (April 22, 2026). Screening of Loving Vincent in «Cinema Bypass» mode: flattened and impoverished stereo signal, absence of phase compensation, and a drastic «audibility gap» when confronting «urban crossover».

Notes to Part V

[45] See Beckerman, M. (2003), New Worlds of Dvořák: Searching in America for the Composer's Inner Life, New York: W. W. Norton & Company, pp. 45–52; Horowitz, J. (2003), Classical Music in America: A History of Its Rise and Fall, New York: W. W. Norton & Company, pp. 112–118; Clapham, J. (1979), Dvořák, New York: W. W. Norton & Company, p. 134; Gehry Partners, LLP (2011), New World Center: A Social Laboratory for Classical Music, cit.; Webb, M. (2011), «New World Center, Miami Beach», cit.; New World Symphony (2025), Program Notes for WALLCAST® Concert: Antonín Dvořák – Symphony No. 9 "From the New World", Miami Beach: New World Center; Meyer Sound Laboratories (2026), New World Symphony WALLCAST: Immersive Audio Upgrade. News & Technical Case Study, cit.

[46] See Daniele, R. & Daniele, J. (2026), Film Analysis: The Digital Cadaver — A Critique of Loving Vincent, cit.

Figures and Iconographic Apparatus

• Fig. 1. Night view of the Miami Beach SoundScape Park and projection wall.

• Fig. 2. Lateral perimeter of the park, Media Hydrants emitters, and urban ecosystem.

• Fig. 3. Outdoor audience seating arrangement during a Cinema Series screening.

Conceptual Diagrams and Comparative Tables

• Table 1. Comparative analysis of electroacoustic spatialization paradigms: Acousmonium and SoundScape Park.

Empirical Audio-Video Documentation and Media

• Video 1. Bill Fontana, Sonic Dreamscapes (August 18, 2020).

• Video 2. Performance of the Dvořák concert (November 15, 2025).

• Video 3. Screening of Loving Vincent (April 22, 2026).

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• Metz, Christian (1991). L'énonciation impersonnelle, ou le site du film, Paris: Méridiens Klincksieck [Eng. tr. Impersonal Enunciation, or the Place of Film, New York: Columbia University Press, 2016].

• Musil, Robert (1930–1943), Der Mann ohne Eigenschaften, Berlin: Rowohlt [Eng. tr. The Man Without Qualities, trans. S. Wilkins & B. Pike, New York: Alfred A. Knopf, 1995].

• Pasolini, Pier Paolo (1972). Empirismo eretico. Milano: Garzanti [Eng. tr. Heretical Empiricism, Bloomington: Indiana University Press, 1988].

• Pontara, Tobias (2020). Andrei Tarkovsky's Sounding Cinema: Music and Meaning from Solaris to The Sacrifice, London/New York: Routledge.

• Sergi, Gianluca (2004). The Dolby Era: Film Sound in Contemporary Hollywood, Manchester: Manchester University Press.

• Tarkovsky, Andrei (1986). Zapečatlënnoe vremja, Frankfurt am Main: Ullstein [Eng. tr. Sculpting in Time: Reflections on the Cinema, Austin: University of Texas Press, 1987].

• Whittington, William (2007). Sound Design & Science Fiction, Austin: University of Texas Press.

• Wissner, Reba A. & Reed, Katherine M. (eds.) (2021). Music in Twin Peaks: Listen to the Sounds, London/New York: Routledge.

5. Institutional Documentation, Reports, Primary Sources, and Case Studies

• Art Basel in Miami Beach (2016, November 30 – December 4). Surround Sound & Film Sector at SoundScape Park [Press release and official program]. Curated by David Gryn (Daata Editions / Artprojx). Miami Beach: Art Basel / MCH Group.

• Bennett, Paul (2011, May). «Park of the Future». Landscape Architecture Magazine, vol. 101, no. 5, pp. 82–93. JSTOR.

• City of Miami Beach (n. d.). SoundScape Cinema Series: Program, Tourism and Culture Department. Miami Beach: City of Miami Beach. Official series URL: https://www.miamibeachfl.gov/soundscape-cinema-series/

• City of Miami Beach (2018, December 5). City of Miami Beach Unveils 'Sonic Dreamscapes' by Bill Fontana at SoundScape Park [Press release and acquisition sheet, Art in Public Places program]. Miami Beach: City of Miami Beach Cultural Affairs Division / Art in Public Places. URL: https://www.miamibeachfl.gov/bill-fontana-sonic-dreamscapes/.

• Envelop Acoustic Space Project (2020). Envelop SF: 32-Channel Spatial Audio Environment. San Francisco, CA. URL: https://www.envelop.us/envelop-sf/

• Gehry Partners, LLP (2011). New World Center: A Social Laboratory for Classical Music. Architectural Statement, Miami Beach: New World Symphony.

• Giardina, Carolyn (2023, October 6). «Darren Aronofsky Describes His Journey to Creating the First Movie for the Las Vegas Sphere», in The Hollywood Reporter. URL: https://www.hollywoodreporter.com/movies/movie-news/darren-aronofsky-postcard-from-earth-1235610029/

• Gryn, David (2012, December 5). «Artprojx Director David Gryn On Art Video at ABMB» [Curatorial interview]. Whitewall Magazine. Available at: https://whitewall.art/art/artprojx-director-david-gryn-on-art-video-at-abmb/

• Gryn, David (2016, November 8). «Surround Sound at Art Basel in Miami Beach 2016» [Archival technical and curatorial sheet]. David Gryn Blog / Daata. Available at: https://davidgryn.wordpress.com/2016/11/08/surround-sound-at-art-basel-in-miami-beach-2016/

• Gulliksen, Josie (2026, September 1). SoundScape Cinema Series: Free outdoor movies in Miami Beach, «Miami on the Cheap». URL: https://miamionthecheap.com/free-movie-at-soundscape/

• Harvestworks Digital Media Arts Center (2020, August 11). Bill Fontana: Sonic Dreamscapes 2020 [Artistic research sheet and archival performance/stream]. In collaboration with UCLA Art Sci Center. New York: Harvestworks. URL: https://archive.harvestworks.org/aug-11-sonic-dreamscapes-2020-by-bill-fontana/

• Kobiela, Dorota, & Welchman, Hugh (2017). Loving Vincent [Animated film]. BreakThru Productions / Trademark Films.

• Landscape Architecture Foundation [LAF] (2016/2021). SoundScape Park: Case Study Brief. Landscape Performance Series. ArcGIS StoryMaps / LAF. Available at: https://storymaps.arcgis.com/stories/ea09d3176b0c4560ac1d9b306ad58aaa

• Live Design (2011, June 13). «Meyer Sound Constellation Revolutionizes Outdoor Music Presentation at Miami Beach SoundScape». Live Design Magazine. URL: https://www.livedesignonline.com/meyer-sound-constellation-revolutionizes-outdoor-music-presentation-at-miami-beach-soundscape

• Meyer Sound Laboratories (n.d.). official portal: https://meyersound.com/

• Meyer Sound Laboratories (2003). SIM 3 Audio Analyzer System User Guide. Berkeley, CA: Meyer Sound Laboratories.

• Meyer Sound Laboratories (2010). D-Mitri User Guide. Berkeley, CA: Meyer Sound Laboratories.

• New World Symphony (2025). Program Notes for WALLCAST® Concert: Antonín Dvořák – Symphony No. 9 "From the New World". Miami Beach: New World Center.

• Meyer Sound Laboratories (2026). New World Symphony WALLCAST: Immersive Audio Upgrade. News & Technical Case Study. Berkeley, CA: Meyer Sound Laboratories. URL: https://meyersound.com/news/new-world-symphony-wallcast/.

• Nagata Acoustics (2011), New World Center Concert Hall Project Portfolio, Tokyo/Los Angeles: Nagata Acoustics, URL: https://www.nagata-i.com/portfolio/new-world-center-concert-hall/

• New World Symphony (n. d.). WALLCAST® Concerts Series Schedule, URL: https://www.nws.edu/tickets/wallcast-concerts

• Ouroussoff, Nicolai (2011, January 23). «Architecture Review: Gehry Design Plays Fanfare for the Common Man». The New York Times. URL: https://www.nytimes.com/2011/01/24/arts/design/24gehry.html

• Peikert, Mark (2025, October 23). This beloved outdoor movie series is back: here is the full lineup of films to catch, «Time Out Miami». URL: https://www.timeout.com/miami/news/this-beloved-outdoor-movie-series-is-back-here-is-the-full-lineup-of-films-to-catch-102325



• SFMOMA (2010). Bill Fontana: Sonic Shadows [Exhibition curatorial sheet and archival materials]. Curated by Rudolf Frieling. San Francisco: San Francisco Museum of Modern Art. URL: https://www.sfmoma.org/press-release/sfmoma-presents-bill-fontanas-sonic-shadows/

• Sphere Entertainment Co. & HOLOPLOT (2023, July). Sphere Immersive Sound Unveiled: The Most Advanced Concert-Grade Audio System in the World. Press Release, Las Vegas. URL: https://www.prnewswire.com/news-releases/sphere-entertainment-unveils-the-most-advanced-concert-grade-audio-system-in-the-world-sphere-immersive-sound-powered-by-holoplot-301883641.html

• Sonitus Consulting (2017), Miami SoundScape / Lincoln Park Project. Sonitus Consulting project archives. URL: http://www.sonitusconsulting.com/project/miami-soundscape-lincoln-park/

• West 8 (2011), Miami Beach SoundScape / Lincoln Park Project Case Study. Rotterdam / New York: West 8 Urban Design & Landscape Architecture. URL: https://www.west8.com/projects/miami-beach-soundscape/

Filmography

• Kobiela, Dorota & Welchman, Hugh (2017). Loving Vincent [Animated motion picture], Gdańsk/London: BreakThru Productions / Trademark Films / Silver Screen.

• Lucas, George (1977). Star Wars: Episode IV - A New Hope [Motion picture], Los Angeles: Lucasfilm / Twentieth Century Fox. Music: John Williams; Special Sound Effects & Sound Design: Ben Burtt; Sound Re-recording Mixers: Don MacDougall, Bob Minkler, Ray West.

• Lynch, David (1977). Eraserhead [Motion picture], Los Angeles: American Film Institute / Libra Films. Sound Design & Sound Effects: Alan Splet; Music: David Lynch, Peter Ivers, Fats Waller.

• Lynch, David (1992). Twin Peaks: Fire Walk with Me [Motion picture], Paris/Los Angeles: CiBy 2000 / New Line Cinema. Music: Angelo Badalamenti; Sound Design: Alan Splet; Supervised Sound Effects: David Lynch.

• Lynch, David (2017). Twin Peaks: The Return [TV Series / Event Series], Los Angeles: Showtime / Lynch/Frost Productions. Sound Design & Sound Supervision: David Lynch; Sound Editor: Dean Hurley.

• Tarkovsky, Andrei (1972). Solaris (Солярис) [Motion picture], Moscow: Mosfilm. Music: Eduard Artemyev; Sound: Semyon Litvinov.

• Tarkovsky, Andrei (1979),.Stalker (Сталкер) [Motion picture], Moscow: Mosfilm. Music and ANS Synthesizer: Eduard Artemyev; Sound: Vladimir Sharun.

How to Cite this Essay

APA 7th Edition: Daniele, Romina (2026). The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park. ElectroAcoustics Magazine (Continuous Digital Publication) / Arts & Technologies, Issue #01 «The Electroacoustic Imperative», Vol. 1 (Selected for Print Edition), RDM Records, 2026 Series, Art. 2026.03.en. DOI: Pre-assigned (eam.2026.03.en). Available at: https://rdmrecords.com/the-ghost-in-the-garden

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