If you could see what I hear or Hear as far as you can see

I’m sorry for the late late (night) post.

I’ve updated few things from last tutorial. Hopefully they can be understood  a bit clearer. And obviously all these will be refined as design is refining as well.

This is the mapping of the sound space (don’t know what to call the spaces yet) allocation. This is to enhance the ‘hear as far as you can see’. I believe I have to change the sentence a bit so not to be similar with Fontana. Each spaces are either combination of live transmission and recorded or just live transmission.

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Desig

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This is one of the 3 sound spaces that I try my hands on at the moment. The shape is inspired from precedent but as the design is refining, the final form changes as well, potentially. As long as the basic form for acoustic is standardized (which is ellipse or circular dome ceiling or cave shape), I think the rest of the program would be designed less fixed and more fun to accompany the experience of sound as a whole.  For this one, it is a live transmission. I know we talked about the use of the funnel not really functional (but they are more interesting) but what I thought was, placing the mic in a hidden area and somehow the sound is amplified and transmitted to another space through funnel to experience it as a different thing with the manipulation of the shape of the space and the funnel too.

The placement and height of the receiving funnel in another space in order to get the sound bounce or disperse or absorb, also plays important role in creating a certain sonic experience. (if practicality is what we’re aiming given a period of time we have left to finish the work)

As of this moment, what I have in mind is that, in order to get the whole scenario of Brooklyn Bridge story into a different time dimension and space is by analysing the bridge and the city throughout the day. Hence, the framing view and sound through both recorded and live transmission may or may not bring something pleasant in the period of time. Or as Fontana said, what he did with sound sculpture is that, treating the noise in a positive way and invite people to be more conscious of their surrounding sound. “In designing such real time musical information systems I am assuming that any given moment there will be something meaningful to hear.”

With previous material study ie., doppler, sound decays by time, etc are the smaller themes of the sound experience. Somehow, these are unconsciously incorporated and already exist in the whole sound experience.

What I’m still thinking of is that, the scale of the spaces are not to overpower the view of Brooklyn Bridge and also the city and as well as to put any design work on the bridge itself. On the other hand, if it’s for the sake of design, we can go pass that and design the scale to be slightly bigger and bolder on the river. (the shape of sound chamber could be inspired from ear anatomy) The kind of materials I’m looking at now is steel and concrete (structure) and granite or marble (interior). Perhaps the whole sound chambers become part of Brooklyn Bridge identity.

FG

Athanasius Kircher. He’s an author of many books, among them the Musurgia Universalis, written in 1650 and Phonurgia Nova, of 1673. His Phonurgia Nova means “a new method of sound production”. His book reveals some interesting acoustic apparatuses for sound production and propagation.

He’s one of the precedent research I’m currently doing on. Eventhough not much written about his research, but this info is quite informative. Untitled 6 5Untitled- 5

Till then, hope can settle more design issues by tuesday. And sorry again for the late post. Tried so hard to do it sooner. And my constant aching right hand interfere many times but (no whining).

 

 

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