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.

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

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

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).

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.

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.

What the Brain Sees Color Form Depth Movement

Describing Color Objective Method: Physics: The result of specific wavelength Comparative Method: (To other ‘known” colors) Chroma (the color itself), Value (tinting [black]/shading [white]), Lightness (reflects off surface)/ Brightness (luminance where being viewed) Subjective: Mental association with the color: emotions

What the Brain Sees Color Form Depth Movement

“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 halftone reproduction Lines “Outward expression of linear thinking”: Horizontal, Vertical, Diagonal, Curved, etc. Shapes Parallelograms, Circles, and Triangles Halftones

The use of lines and shapes in film continuity: Eisenstein’s Potmemkin

What the Brain Sees Color Form Depth Movement

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 (ripples closer together as viewer moves away Interposition: Placement of objects in front of each other to create the illusion of depth Time: Establishes foreground from background as the eye views the picture Perspective: Illusionary, geometrical, conceptual (multiview, social)

Perspective ‘ The School of Athens’ by Raphael (1518), a ‘The School of Athens’ by Raphael (1518), a fine example of architectural perspective with a central vanishing point.

What the Brain Sees Color Form Depth Movement

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”