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

2. The Auditory Dimension
visual
auditory y z 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. Objective Method: The result of specific wavelength
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. “defines the outside edges and internal parts of an object”
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”