The Auditory Dimension

1. 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

2. The Auditory Dimension visual auditory y y z z x x x = mute objects y=moving objects z=invisible sounds

3. 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.

4. 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).

5. 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.

6. 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.

7. What the Brain Sees • Color • Form • Depth • Movement

8. 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

9. What the Brain Sees • Color • Form • Depth • Movement

10. 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

11. What the Brain Sees • Color • Form • Depth • Movement

12. 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)

13. What the Brain Sees • Color • Form • Depth • Movement

14. 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”