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SOUND AS EXPERIENCE ENRICHMENT

SOUND AS EXPERIENCE ENRICHMENT. INTRODUCTION VISUAL ORIENTATION MODULES OF ACOUSTIC DESIGN PARAMETERS OF AURAL EXPERIENCE THE SONIC CONTEXT SYMBOLISM AESTHETICS SOUND AS A DESIGN ELEMENT CONCLUSIONS. VISUAL ORIENTATION OF WESTERN CULTURE: PRINTING PRESS PERSPECTIVE PAINTING.

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SOUND AS EXPERIENCE ENRICHMENT

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  1. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • VISUAL ORIENTATION OF WESTERN CULTURE: • PRINTING PRESS • PERSPECTIVE PAINTING. INTRODUCTION

  2. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS PERSPECTIVE DRAWING

  3. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • MARSHALL MCLUHAN: • ELECTRIC CULTURE. • WRITING IN THE 1950’S. • THE ELECTRONIC WORLD IS ORAL. • “IT MOVED US BACK INTO THE ACOUSTIC SPACE OF PRELITERATE CULTURES.” • “UNTIL WRITING WAS INVENTED, WE LIVED IN ACOUSTIC SPACE.” • “ACOUSTIC SPACE IS BOUNDLESS, DIRECTIONLESS, HORIZON LESS, THE DARK OF THE MIND, THE WORLD OF EMOTION, PRIMORDIAL INTUITION, TERROR.” • “WRITING WAS THE VISUALIZATION OF ACOUSTIC SPACE.” WRITINGS OF MARSHALL MCLUHAN

  4. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS RESEARCH OF EDMUND CARPENTER

  5. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • WORK OF EDMUND CARPENTER: • STUDIES OF ESKIMO ACOUSTIC SPACE. • AUDITORY SPACE IS DYNAMIC, IT IS ALWAYS IN FLUX. • IT IS A SPHERE WITHOUT FIXED BOUNDARIES. • SPACE IS MADE BY THE THING ITSELF, NOT SPACE CONTAINING THE THING. • AIVILIK ESKIMOS HAVE TWELVE UNRELATED TERMS FOR VARIOUS WINDS. RESEARCH OF EDMUND CARPENTER

  6. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • WORK OF YI-FU TUAN: • CORRELATIONS BETWEEN THE SENSES AND PERCEPTION OF SPACE. • “THE WORLD PERCEIVED THROUGH THE EYES IS MORE ABSTRACT THAN THAT KNOWN TO US THROUGH THE OTHER SENSES.” • “THE EYES EXPLORE THE VISUAL FIELD AND ABSTRACT FROM IT CERTAIN OBJECTS, POINTS OF FOCUS, PERSPECTIVES.” • “IN MODERN SOCIETY MAN COMES TO RELY MORE AND MORE ON SIGHT. SPACE FOR HIM IS BOUNDED & STATIC, FRAME OR MATRIX FOR OBJECTS. WITHOUT OBJECTS & BOUNDARIES SPACE IS EMPTY.” RESEARCH OF YI-FU TUAN

  7. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUND SCULPTURE

  8. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUND SCULPTURE

  9. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUND SCULPTURE

  10. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • VISUAL ORIENTATION • MODULES OF ACOUSTIC DESIGN • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS HUMAN VOICE & HUMAN EAR

  11. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • PITCH • AMPLITUDE • TIME • INTERACTION OF PARAMETERS • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS PITCH

  12. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • PITCH • AMPLITUDE • TIME • INTERACTION OF PARAMETERS • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • THRESHOLDS: • AUDIBILITY: 0 DB. • HEARING LOSS: 75—85 DB. • FEELING: 120 DB. • PAIN: 130 DB. • PERCEPTIBILITY: • JUST BARELY PERCEPTIBLE: 3 DB. • CLEARLY NOTICEABLE: 6 DB • TWICE AS LOUD: 10 DB. • FOUR TIMES AS LOUD: 20 DB. AMPLITUDE

  13. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • PITCH • AMPLITUDE • TIME • INTERACTION OF PARAMETERS • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS DYNAMICS: CHANGES IN LOUDNESS

  14. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • PITCH • AMPLITUDE • TIME • INTERACTION OF PARAMETERS • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS DYNAMICS: CHANGES IN LOUDNESS

  15. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • PITCH • AMPLITUDE • TIME • INTERACTION OF PARAMETERS • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS TIME: REVERBERATION & ECHO. TEMPO:THE RATE OR SPEED AT WHICH MUSIC IS PLAYED OR A RHYTHMIC ACTIVITY OCCURS. RHYTHM:REGULAR MODULATION OF SOUND. TREMOLO:AMPLITUDE MODULATION. VIBRATO:FREQUENCY MODULATION. TIME

  16. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • PITCH • AMPLITUDE • TIME • INTERACTION OF PARAMETERS • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS INTERACTION OF PARAMETER

  17. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • KEYNOTE SOUNDS: • THOSE SOUNDS WHICH ARE HEARD BY A PARTICULAR SOCIETY CONTINUOUSLY OR FREQUENTLY ENOUGH TO FORM A BACKGROUND AGAINST WHICH OTHER SOUNDS ARE HEARD. KEYNOTE SOUNDS

  18. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • NORTHERN HINTERLAND: • THE SOUNDS OF ICE AND SNOW BECOME KEYNOTE SOUNDS. KEYNOTE SOUNDS

  19. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • PRAIRIES: • THE SOUND OF THE WIND BECOMES A KEYNOTE SOUND. KEYNOTE SOUNDS

  20. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • ELECTRONIC CULTURES: • TRANSFORMER HUM. • IN AMERICA PEOPLE TEND TO HUM IN B NATURAL WHICH IS ABOUT THE SAME FREQUENCY AS ALTERNATING CURRENT (60 CYCLES PER SECOND). • IN EUROPE PEOPLE HUM IN G SHARP WHICH IS ABOUT THE SAME AS EUROPEAN ELECTRICAL CURRENT (50 CYCLES PER SECOND) KEYNOTE SOUNDS

  21. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • SIGNALS: • FOREGROUND SOUNDS (LISTENED TO CONSCIOUSLY), GENERALLY THESE SOUNDS ARE LISTENED TO BECAUSE THEY GIVE SOME FORM OF ACOUSTIC WARNING. • EXAMPLES: BELLS, WHISTLES, HORNS & SIRENS. SIGNALS

  22. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • SOUNDMARKS: • THE TERM IS DERIVED FROM LANDMARK, & REFERS TO A COMMUNITY SOUND WHICH IS UNIQUE OR POSSESSES QUALITIES WHICH MAKE IT SPECIALLY REGARDED OR NOTICED BY THE PEOPLE IN THAT COMMUNITY. SOUNDMARKS

  23. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUNDMARKS

  24. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUNDMARKS

  25. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUNDMARKS: LOONS

  26. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUNDMARKS

  27. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS SOUNDMARKS

  28. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS STUDY OF THE CHANGING FORMS OF SOUND CHRONOLOGICALLY OR GEOGRAPHICALLY.

  29. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • MATERIAL BASED CHANGES: • WOOD CULTURES. MORPHOLOGY OF THE SOUNDSCAPE

  30. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • MATERIAL BASED CHANGES: • STONE CULTURES. MORPHOLOGY OF THE SOUNDSCAPE

  31. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • MATERIAL BASED CHANGES: • CONCRETE, METAL & GLASS CULTURES. MORPHOLOGY OF THE SOUNDSCAPE

  32. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • TRANSPORTATION BASED CHANGES: • FOOT TRAVEL. MORPHOLOGY OF THE SOUNDSCAPE

  33. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • TRANSPORTATION BASED CHANGES: WHEELED VEHICLES.

  34. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • TRANSPORTATION BASED CHANGES: MOTORIZED VEHICLES.

  35. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • KEYNOTE SOUNDS • SIGNALS • SOUNDMARKS • MORPHOLOGY OF THE SOUNDSCAPE • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • MORPHOLOGY OF SIGNAL SYSTEMS: • CHURCH BELLS. • FACTORY WHISTLE. MORPHOLOGY OF SIGNAL SYSTEMS

  36. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • SIGNAL VS SYMBOL: • SIGNAL: A SOUND WITH A SPECIFIC MEANING, & IT OFTEN STIMULATES A DIRECT RESPONSE. • EXAMPLES: TELEPHONE BELL, SIREN, ETC. SIGNAL VS SYMBOL

  37. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • SYMBOL: • RICHER CONNOTATIONS. • A SOUND EVENT IS SYMBOLIC WHEN IT STIRS IN US EMOTION OR THOUGHTS BEYOND ITS MECHANICAL SENSATION OR SIGNALING FUNCTION. SIGNAL VS SYMBOL

  38. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS ARCHETYPAL SYMBOLS: “SYMBOLS WHICH ARISE AUTOCHTHONOUSLY IN EVERY CORNER OF THE EARTH & ARE NONE THE LESS IDENTICAL, BECAUSE THEY ARE FASHIONED OUT OF THE SAME WORLD-WIDE HUMAN UNCONSCIOUS, WHOSE CONTENTS ARE INFINITELY LESS VARIABLE THAN RACES AND INDIVIDUALS” C.G. JUNG ARCHETYPAL SYMBOLS

  39. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • WATER: • LIFE ELEMENT • LANDSCAPE: RAIN, STREAMS, FOUNTAINS, RIVERS, WATERFALLS, SEA, ETC. • SYMBOLISM: CLEANING, PURIFICATION, REFRESHMENT & RENEWAL. ARCHETYPAL SYMBOLS

  40. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • WIND: • THE WIND IS DEVIOUS & EQUIVOCAL. • WITHOUT ITS TACTILE PRESSURE ON THE FACE OR BODY WE CANNOT EVEN TELL FROM WHAT DIRECTION IT BLOWS. • WIND CHIMES ARCHETYPAL SYMBOLS

  41. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • AEOLIAN HARP: • THE ILLUSORY NATURE OF THE WIND FINDS ITS INSTRUMENT IN THE AEOLIAN HARP, WHOSE HAUNTING AND ELUSIVE TONES WERE SO AFFECTIONATELY REGARDED BY THE ROMANTICISTS. ARCHETYPAL SYMBOLS

  42. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • SIGNAL VS SYMBOL • ARCHETYPAL SYMBOLS • CULTURALLY BASED SYMBOLS • AESTHETICS • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • EXAMPLES: • CHURCH BELLS. • MOTORS: TODAY THE HARD-EDGED THROB OF MOTORS CAN BE HEARD AROUND US CONTINUOUSLY, BUT WHENEVER IT HAS SPRUNG INTO THE FOREGROUND AS A FIGURE, IT HAS BEEN GLORIFIED AS THE SYMBOL OF POWER AND PROSPERITY. CULTURALLY BASED SYMBOLS

  43. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • DESCRIPTION • INFLUENCE OF CLIMATE & GEOGRAPHY • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • DESCRIPTION: • REDUCED TO ITS SIMPLEST FORM, AESTHETICS IS CONCERNED WITH THE CONTRAST BETWEEN THE BEAUTIFUL AND THE UGLY. • PLEASANT SOUNDS: WATER, BREEZES, AND BIRDS. • UNPLEASANT: INSECTS, TRAFFIC NOISE, MACHINERY & LOUD IMPACTS. AESTHETICS

  44. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • DESCRIPTION • INFLUENCE OF CLIMATE & GEOGRAPHY • SOUND AS A DESIGN ELEMENT • CONCLUSIONS IN COUNTRIES WHICH TOUCH THE SEA, OCEAN WAVES ARE CONSIDERED THE MOST PLEASANT SOUND.

  45. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • DESCRIPTION • INFLUENCE OF CLIMATE & GEOGRAPHY • SOUND AS A DESIGN ELEMENT • CONCLUSIONS • INFLUENCE OF CLIMATE & GEOGRAPHY: • IN INLAND COUNTRIES LIKE SWITZERLAND, BROOKS AND WATERFALLS ARE RATED HIGHEST. • WHERE TROPICAL STORMS MAY BLOW IN SUDDENLY (NEW ZEALAND & JAMAICA) THE SOUND OF WIND IS DISLIKED. AESTHETICS

  46. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • ACOUSTIC SPACE • CREATION OF MOOD • CONCLUSIONS • DEFINITION OF DISTRICT: • HUNS • MINARET • CHURCH BELL • FACTORY WHISTLES. DEFINITION OF DISTRICT

  47. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • ACOUSTIC SPACE • CREATION OF MOOD • CONCLUSIONS DEFINITION OF DISTRICT

  48. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • ACOUSTIC SPACE • CREATION OF MOOD • CONCLUSIONS DEFINITION OF DISTRICT

  49. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • ACOUSTIC SPACE • CREATION OF MOOD • CONCLUSIONS DEFINITION OF DISTRICT

  50. SOUND AS EXPERIENCE ENRICHMENT • INTRODUCTION • PARAMETERS OF AURAL EXPERIENCE • THE SONIC CONTEXT • SYMBOLISM • AESTHETICS • SOUND AS A DESIGN ELEMENT • ACOUSTIC SPACE • CREATION OF MOOD • CONCLUSIONS DEFINITION OF PATH & CENTER

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