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The Auditory Dimension. horizon of invisibility. horizon of silence. x y y x x. y z z y. x = mute objects y=moving objects z=invisible sounds. The Auditory Dimension. visual. auditory. y y. z z. x x.
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The Auditory Dimension horizon of invisibility horizon of silence x y y x x y z z y x = mute objects y=moving objects z=invisible sounds
The Auditory Dimension visual auditory y y z z x x x = mute objects y=moving objects z=invisible sounds
The Auditory Dimension • The making or “translating” of the invisible into the visible is a standard route for understanding a physics of sound. • Amplification reveals the sound that emanates from the previously silent. • If we “heard” all the sounds that emanate from what seems to be mute objects, we would hear constant noise.
The Post-Industrial Soundscape from R. Murray Schafer, The Tuning of the World The Natural Soundscape The Rural Soundscape The Industrial Revolution The Electrical Revolution Sacred Noise: Loudness as a manifestation of God, from the sounds of nature (thunder, wind) to the sounds of the church (bells, organ).
The Industrial Revolution from R. Murray Schafer, The Tuning of the World • The transformation of Sacred Noise to Industrial Noise: “Wherever Noise is granted immunity from human intervention, there will be found a seat of power.” • The concept of Sound Imperialism • Lo-fi soundscape: Little perspective Continuous (flat line): Drone • The internal combustion engine as the fundamental sound of contemporary civilization. • Technological noise as the target for protest and regulation.
The Electrical Revolution from R. Murray Schafer, The Tuning of the World • The discovery of packaging and storing techniques for sounds. • The separation of sounds from their original sources: Schizophonia • Three mechanisms: Telephone, Phonograph, Radio • Sound walls: Muzak • The tuning of the world to 50/60Hz, the frequency of electrical transmission. We need to add to this list, the digitization of sound, removing sound from its natural wave form.
What the Brain Sees • Color • Form • Depth • Movement
Describing Color • Objective Method: The result of specific wavelength • Comparative Method: Variations Chroma, Value (tinting/shading), Lightness/ Brightness • Subjective: Mental association with the color: emotions
What the Brain Sees • Color • Form • Depth • Movement
Form “defines the outside edges and internal parts of an object” • Dots Simplest form: dots can form images as in pointillism and half-tone reproduction • Lines“Outward expression of linear thinking” Horizontal, Vertical, Diagonal, Curved, etc. • Shapes Parallelograms, Circles, and Triangles
What the Brain Sees • Color • Form • Depth • Movement
Depth: Eight Cues • Space: “...the frame in which an image is located.” • Size: Compared to the actual size or a known referent • Color: Warm v. cool colors • Lighting: Intensity and/or the prevalence of shadows • Textural Gradients: Ripple effect • Interposition: Placement of objects in front of each other to create the illusion of depth • Time: Establishes foreground from background • Perspective: Illusionary, geometrical, conceptual (multiview, social)
What the Brain Sees • Color • Form • Depth • Movement
Movement • Real movement: Not applicable to mediated images • Apparent movement: When a stationary object appears to move, as in film and video • Graphic movement: The motion of the eyes as they scan a graphic arrangement • Implied movement: Motion perceived from a static image, as in “visual vibration”