The sound has a role in the mental representation of space, since it contributes decisively to the integration and apprehension of it. Between space and the lives of people develop particular meanings that make connections not only physical but also social, cultural, geopolitical, etc.
Every sound has its own cultural story to tell. The sound is the "voice" of a company, a landscape, an environment.
Our existence is tied to the sound, every situation, every time our lives has a background sound ... a sonic backdrop that is part of our emotional experience and whose mere hearing may trigger the recall and memory, contributing to the link and (re) signification of the different places where we've been and developed our lives.
Such meanings and its expansions involve what might be called the sonic identity of a place, ie the inflection point and remote contiguity determines the identification of people with (his) sound space.
other words, the urban space in its multiplicity of environments and stimuli produces sound environments quite distinct from each other, as the square school, the fair or the bus station, each equipped with its own set of sounds and noise pollution emergencies, they give these spaces a specific location and sui generis mental and emotional checkerboard with its inhabitants. internalize the city. GEO 44.11
part of the idea that sound public spaces, providing an atmosphere of the recipient ears particular and identifiable sound feeds their sense of belonging ... belonging to a ubiquitous space in the individual and collective memory which establish multiple attachment relationships and territoriality to the extent that this place has the feeling of staying recognizably representative everyday.
Sound Environment:
The term soundscape , or soundscape, is defined as the demonstration room acoustics. Is the sum of all sounds within a given area reflects the social, political, technological and natural in such a space. If we understand the meanings of sound understand what a place, a society are saying about themselves. (Westerkamp, \u200b\u200b2002).
In an environment or natural soundscape rarely sound masking or overlaps another, thus enabling a greater depth of field audible under his silence. In terms of Murray Shafer and Team World Soundscape Project, a sound environment of this type have set what they called a Soundscape HiFi High Fidelity or, ie a continuous sound in harmony with the rhythms and natural cycles that make a real human habitation tribal metáfotra where the village is reachable according to their acoustic horizon, bone, or domain in the area occupied by the sounds sound that people recognize as their own and as appropriate to the place and give them the feeling of open-mindedness, ubiquity, community and belonging.
Otherwise, a sound environment of the metropolis itself, standardized by the sound of engines, alarms and bustle of multiple sources trying to excel at the other, the soundscape is manifested as a dense web of sounds in terms of equipment M. Shafer called up the low-fidelity sound environment or perceptual LoFi whose complexity derives from an overkill of sound stimuli that disrupt and hinder the appreciation of the environment, as if a wall was closed around us moving away from the environment and reducing our acoustic horizon until a level that no longer even hear our footsteps when walking, breathing or rubbing of our clothes to move. Dams noise we replicated our deafness and individualism to the world, reality, family and others ...
is a fact soundscape that is now clearly a fusion of hifi and lofi environments, a network whose influence is spread by the city in a variable allowing the emergence of corners and different environments in which the reverberation of a hall, the whine of a bridge or an underground echoes coexist and harmonize with the waves of a spring, slipping in a river, the sound of an industry or the bustle of the fair.
In our field tests such as the chirping of birds, river, rain and wind mixed with sounds of children and crafts, the train, shoemaking, bogie, the tannery and mill melt-and fall- with the sound of chainsaws, trucks and forestry machinery and the technological issues of incomplete and fragmentary postmodern in its diachronic and connotes suspension after all the sound environment of the (g) area and its periphery obedient.
Noise and Silence Culture:
For the investigator Detlev Ipsen noise is not nothing but a sound stimulus which causes frustration in the listener. For example, reading, writing, studying, talking or sleeping processes are often hampered by excessive volume or the stridency of a noise emission. However, a willingness to hear the noise also makes an aesthetically stimulating significant.
indicators of noise and silence can only be understood in a cultural framework. It is culture that defines the system under which they develop forms of communication and culture also defines the acceptable volume or fidelity of an acceptable noise emission.
Individually, our likes and dislikes have much to say. Acoustic environments that seek or avoid, so that excites us or frustrates us operate as constraints on the perceptual situation. What is noise to some is not necessarily for others.
LoFi environment probably is deafening and complex for the inhabitant of a rural area and the same Thus, the field is soporific silence for an inhabitant of the city.
Anyway, our relationship with sound, noise, listening and silence, is much broader and complex than we usually weigh.
Consider the following sentence of the musician and sound artist John Cage: "The essential meaning of silence is the loss of attention .. silence is not acoustic ... is only the abandonment of the intention to hear. " (1951)
The listener process, understood as the act of hearing, to perceive the sound of a sensitive, aware and active reminds us that unlike the eye, the ear lacks an eyelid. By default, from small, learn to block and filter automatically and instinctively different auditory stimuli that otherwise would fill our nervous system, which must be sustained without major interference our sense of security and control.
The same is true from a cultural perspective, the social indoctrination, religion and the market behaviorally shape our listening ... that is what the so-called "acoustic control" and the muzak: artificial masking filters and silencers to modulate subliminally induced " that "and" the "hear and how sensitive and perceptive we are and we remain to our environment, needs and existential continuity.
If there is silence or not, whether it is an intention, a state or of a failure in practice is usually only a detail. However, the emergence of a road, an airport or a sound industry in our immediate area can be a problem, a categorical disturbance cycles and procedures, our routine. Similarly, if a sound source that has been with us always sound suddenly stop, as happened in CuracautÃn the factory whistle-Mosso also forever change and affect our relationship with the territory and identity processes and representational continuously (re) elaborated as individuals and society. Here
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44.11 (c) Jorge A. Olave Riveros, 2009
44.11 (c) Jorge A. Olave Riveros, 2009
