1. The Auditory Dimension xy y x x horizon of invisibility horizon of silence y z z y x = mute objects y=moving objects z=invisible sounds

2. The Auditory Dimension visual auditory xxxx y z zz z 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.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.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.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 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 ImperialismThe concept of Sound Imperialism Lo-fi soundscape: Little perspective Continuous (flat line): DroneLo-fi soundscape: Little perspective Continuous (flat line): Drone The internal combustion engine as the fundamental sound of contemporary civilization.The internal combustion engine as the fundamental sound of contemporary civilization. Technological noise as the target for protest and regulation.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 discovery of packaging and storing techniques for sounds. The separation of sounds from their original sources: SchizophoniaThe separation of sounds from their original sources: Schizophonia Three mechanisms:Telephone, Phonograph, RadioThree mechanisms:Telephone, Phonograph, Radio Sound walls: MuzakSound walls: Muzak The tuning of the world to 50/60Hz, the frequency of electrical transmission.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 ColorColor FormForm DepthDepth MovementMovement

8. Describing Color Objective Method: The result of specific wavelengthObjective Method: The result of specific wavelength Comparative Method: Variations Chroma, Value (tinting/shading), Lightness/ BrightnessComparative Method: Variations Chroma, Value (tinting/shading), Lightness/ Brightness Subjective: Mental association with the color: emotionsSubjective: Mental association with the color: emotions

9. What the Brain Sees ColorColor FormForm DepthDepth MovementMovement

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 reproductionDots Simplest form: dots can form images as in pointillism and half-tone reproduction Lines “Outward expression of linear thinking” Horizontal, Vertical, Diagonal, Curved, etc.Lines “Outward expression of linear thinking” Horizontal, Vertical, Diagonal, Curved, etc. Shapes Parallelograms, Circles, and TrianglesShapes Parallelograms, Circles, and Triangles

11. What the Brain Sees ColorColor FormForm DepthDepth MovementMovement

12. Depth: Eight Cues Space: “...the frame in which an image is located.”Space: “...the frame in which an image is located.” Size: Compared to the actual size or a known referentSize: Compared to the actual size or a known referent Color: Warm v. cool colorsColor: Warm v. cool colors Lighting: Intensity and/or the prevalence of shadowsLighting: Intensity and/or the prevalence of shadows Textural Gradients: Ripple effectTextural Gradients: Ripple effect Interposition: Placement of objects in front of each other to create the illusion of depthInterposition: Placement of objects in front of each other to create the illusion of depth Time: Establishes foreground from backgroundTime: Establishes foreground from background Perspective: Illusionary, geometrical, conceptual (multiview, social)Perspective: Illusionary, geometrical, conceptual (multiview, social)

13. What the Brain Sees ColorColor FormForm DepthDepth MovementMovement

14. Movement Real movement: Not applicable to mediated imagesReal movement: Not applicable to mediated images Apparent movement: When a stationary object appears to move, as in film and videoApparent 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 arrangementGraphic movement: The motion of the eyes as they scan a graphic arrangement Implied movement: Motion perceived from a static image, as in “visual vibration”Implied movement: Motion perceived from a static image, as in “visual vibration”