~"We know how much sound, colour, and light can modify the way we experience living spaces. A cathedral appears handsomer when organ music is hear: we sense the music's harmonizing influence as the resonating tones of a chorale penetrate the transepts and the nave. Likewise, in a theatre we notice a change as the lights are turned off and people suddenly cease to talk to each other. To be sure, the sounds or lights do not modify aspects of these spaces; they merely evoke momentary and latent significance that we experience as atmosphere."
"Wherever we are, in a small room or in the middle of the ocean, we are constantly exposed to a particular atmosphere. Although we do not always notice it, the contact with an atmosphere, according to Bohme, is just as much a fundamental feature of human existence as are consciousness or embodiment."
SITE OF SOUND....
:Character of the physical space and structure in the absence of performance input (p34)
~"Everything associated with a physical structure continuously vibrates. The walls, the floors and ceilings of the structure itself; the air volume within the structure (and outside of it); the ground underneath; the temporary and permanent furnishings and features; and the people within it, are in motion."
:Listening to the Body (p39)
~"Examine building as a body, listening to sounds within the structure as it is alive; there is sound, breathing air flows, digestion water flow, blood flow is...? As in a body these sounds of life can be heard almost anywhere, but are the loudest close to the mechanical plant and piping. As in a living body, the sounds are very subtle- but this does not diminish their critical nature or that fo their sources."
~"If there is traffic vibration or other (nearly inaudible) vibration present, not only does architecture imply sound, but the environment implies sound, and the environment is modified by the presence of the building. External sources appear as vibration in the floors and walls, also filtered according to the resonant characteristics of those structures. The vibration amplitudes can be significant enough to radiate from the walls as audible noise, or they can be amplified."
~"Resonance is more than a medium (in a medium) conducting ideas in time: it defines (along with the absorption associated with each reflection)-or rather confines-the limits of the language of the environment. Light always takes the shortest path between two points. Will to action in this manner is at least more efficient, if not more effective."
:Acoustics and space (p234)
~Naturally 'distant' sounds are placed on the six peripheral loudspeakers to create a distant sound field. Sounds of ambiguous spatial identity are played mainly over the central triangular arrangements, appearing as 'objects' or sculptural sound-mobiles. The triangles define two intimate zones where sequences ranging from ten seconds to a few minutes unfold. Low volume prevents strong reverberation blooms."
"Wherever we are, in a small room or in the middle of the ocean, we are constantly exposed to a particular atmosphere. Although we do not always notice it, the contact with an atmosphere, according to Bohme, is just as much a fundamental feature of human existence as are consciousness or embodiment."
SITE OF SOUND....
:Character of the physical space and structure in the absence of performance input (p34)
~"Everything associated with a physical structure continuously vibrates. The walls, the floors and ceilings of the structure itself; the air volume within the structure (and outside of it); the ground underneath; the temporary and permanent furnishings and features; and the people within it, are in motion."
:Listening to the Body (p39)
~"Examine building as a body, listening to sounds within the structure as it is alive; there is sound, breathing air flows, digestion water flow, blood flow is...? As in a body these sounds of life can be heard almost anywhere, but are the loudest close to the mechanical plant and piping. As in a living body, the sounds are very subtle- but this does not diminish their critical nature or that fo their sources."
~"If there is traffic vibration or other (nearly inaudible) vibration present, not only does architecture imply sound, but the environment implies sound, and the environment is modified by the presence of the building. External sources appear as vibration in the floors and walls, also filtered according to the resonant characteristics of those structures. The vibration amplitudes can be significant enough to radiate from the walls as audible noise, or they can be amplified."
~"Resonance is more than a medium (in a medium) conducting ideas in time: it defines (along with the absorption associated with each reflection)-or rather confines-the limits of the language of the environment. Light always takes the shortest path between two points. Will to action in this manner is at least more efficient, if not more effective."
:Acoustics and space (p234)
~Naturally 'distant' sounds are placed on the six peripheral loudspeakers to create a distant sound field. Sounds of ambiguous spatial identity are played mainly over the central triangular arrangements, appearing as 'objects' or sculptural sound-mobiles. The triangles define two intimate zones where sequences ranging from ten seconds to a few minutes unfold. Low volume prevents strong reverberation blooms."
Witness (2000), Susan Hiller.
~"The great Philosopher Plato believed that the strongest of all life's influences is music. In his treatise Temaeus, Plato describes the numerical (vibrational-musical) creation of the physical universe and the soul, which animates it. He called his students to activate the ancient sites and sacred temples of the earth with sacred song, employing 'perceptual choirs' in order to echo the harmonies of the Heavenly Choir."- Ani Williams, Music & Healing.
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