Book of Investigation

acoustic identification presents

BOOK OF INVESTIGATION

a booklet containing researches, interviews results, surveys results, and user testing results regarding to the design issue

acoustic identification presents

BOOK OF INVESTIGATION

a booklet containing researches, interviews results, surveys results, and user testing results regarding to the design issue

CONTENTS

1. Guide to Sonic Effects 2. Soundscape Terms 3. Sound Classifications 4. Survey Results 5. Interview Results 6. User Testings

3 28 42 53 63 77

GUIDE TO SONIC EFFECTS

A summary of the terms used by Jean-François in the “Sonic Experience: A Guide to Everyday Sounds” book

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ALPHABETICAL LIST

Anamnesis Anticipation Asyndeton Attraction Blurring Chain Cocktail or Cocktail-Party Colouring Coupling Crescendo Crossfade Cut Out Deburau Decontextualization Decrescendo Delay Delocalization Desynchronization Digression Dilation Distortion Doppler Drone Dullness Echo Emergence Envelopment Erasure Fade Feedback Filtration Flutter Echo Haas Hyperlocalization Imitation Immersion Incursion Intrusion Lombard guide to sonic effects

Mask Metamorphosis Mixing Narrowing Niche Perdition Phase Phonomnesis Phonotonie Quotation Release Remanence Repetition Repulsion Resonance Reverberation Rumble Sharawadji Suspension Synchronization Synecdoche Tartini Tremolo Ubiquity Vibrato Wall Wave

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ANAMNESIS

ATTRACTION

A semiotic effect, the often involuntary revival or memory caused by listening and the evocative power of sounds.

A phonotropic effect in which an emerging sound phenomenon attracts and polarizes attention, be it conscious or not.

ANTICIPATION

Expectation of an unknown sound often caused by a specific expectation concerning the sound to appear.

ASYNDETON

The deletion from the perception or memory of one or many sound elements in an audible whole.

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BLURRING

The blurring (estompage) effect refers to the progressive and imperceptible disappearance of a sound atmosphere.

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CHAIN

COUPLING

A chain reaction: one sound event provokes a sonic response, which produces another, and so on.

Interaction between two sound phenomena that seem to be distinct yet connected, without being necessarily engaged in a causal relationship.

COCKTAIL OR COCKTAIL-PARTY

This effect, named by E.Cherry with reference to the sound space in which we can observe it best, refers to or ability to focus attention on the speech of a specific speaker by disregarding irrelevant information coming from the surroundings.

COLOURING

An effect describing the influence of a location, electroacoustic system, or instrument on the new balance of the frequencies of a sound, “coloured” through its diffusion.

guide to sonic effects

CRESCENDO

An effect produced by a progressive increase in the intensity of a sound.

CROSSFADE

While the cut out effect describes an abrupt change from one sonic state to another, the term crossfade refers to a more progressive transition between states, accomplished through a decrease in intensity of the first state and increasing apparition of the second.

We can experience this effect when crossing a mid-sized square in which reflections from the street or the façade behind us slowly crossfades with sounds from the opposite direction.

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CUT OUT

The cut out (coupure) effect refers to a sudden drop in intensity associated with an abrupt change in the spectral envelope of a sound or a modification of reverberation (moving from reverberant to dull spaces, for instance). This effect is an important process of articulation between spaces and locations; it punctuates movement from one ambience to another. Cut out plays a formant role in the perception of space and time by allowing us to distinguish different locations and sequences.

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DEBUREAU

DELAY

With this effect, the listener’s attention searches for a sound that is inaudible, such as the voice of a mute person. The effect is named for Jean-Baptiste Deburau (1796-1846), a famous mime whose trial attracted the whole of Paris, curious to hear his voice. By extension, this effect characterizes the identification of a sound source followed by the observation that once discovered, it is no longer of particular interest.

In its generic sense, this effect refers to any delay between the emission of a sound and its repetition. Echo and reverberation are thus two types of delay.

DECONTEXTUALIZATION

The incongruous intervention of a sound or group of sounds into a coherent situation that was previously experienced, or into a situation where the sonic content is predictable: for example, sounds from the private domain heard in a public space.

DELOCALIZATION

A form of the ubiquity effect, implies recognition of an error in localizing a sound source. As with the ubiquity effect, the listener does not know where the sound comes from; however, with the delocalization effect, the listener knows exactly where the sound seems to come from, while at the same time being conscious that it is an illusion.

DESYNCHRONIZATION

DECRESCENDO

An effect produced by a progressive diminution of sound intensity.

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A temporal decontextualization effect, characterizes the emergence of a sound emission that breaks the regularity of a rhythm or a well-established sound structure, creating a feeling or incongruity.

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DIGRESSION

DOPPLER

The digression effect refers to the emergence of a temporary change of sound ambience in a complex perceptive organization that does not seem to affect behaviors or mark memory

Physicist Christian-Johann Doppler (1803-53) noticed this effect first with sound and then also with light. The Doppler-Fizeau effect describes a relative anamorphose of the original signal. This perceptive modification is due to a relation of movement between the sound source and the listener that provokes either a compression or an expansion of the sound wave. A sound signal that moves closer is perceived as being higher than it actually is, whereas that same signal moving away will be perceived as being lower. This phenomenon comes from a combination of the sound’s speed of propagation and the movement of the sound source.

DILATION

The dilation effect refers to the feeling of the emitter concerning the space of propagation and the hearing sensitivity of others: the emitter feels that the sound he or she produces will carry and be clearly perceived.

DRONE DISTORTION

A distortion of specific frequencies of the spectral envelope of a sound that affects the totality of a sequence. In comparison with filtration, distortion acts through addition rather than substraction.

guide to sonic effects

The drone (bourdon) effect refers to the presence of a constant layer of stable pitch in a sound ensemble with no noticeable variation in intensity.

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DULLNESS

The dullness (matité) effect is the effect to reverberation; absolute dullness implies total absence of reflected sound signals. A room is considered as “dull” when absorbent materials prevent diffusion of reflected waves.

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ECHO

ENVELOPMENT

Echo, a phenomenon observed in nature, is the simple or multiple repetition of a sound emission, linked to a reflection in the space of diffusion.

The feeling of being surrounded by a body of sound that has the capacity to create and autonomous whole, that predominates over other circumstantial feature of the moment.

EMERGENCE

ERASURE

A generic effect that includes the totality of sound occurrences that appear in a given context. Often couple with another effect, emergence not only implies the irruption of a loud sound in a low-intensity context; it also characterizes the appearance of sounds that differ in pitch, timbre, or rhythm.

The erasure (gommage) effect refers to one or several sound elements in an audible ensemble that are deleted from perception or memory. This selective suppression is a fundamental effect of hearing. The majority of audible sounds in a day are heard without being listened to and are the forgotten.

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FADE

Disappearance of a sound through a progressive decrease in intensity

FEEDBACK

An application of the retroaction theory developed in the 1940s (by Norbert Wiener, Claude Shannon, and Warren Weaver) that makes it possible to anticipate a current action using past experience as a guide.

FILTRATION

A reinforcing or weakening of specific frequencies of a sound. A filtration effect is perceived when the frequency of a sound that we are accustomed to or that we have heard previously is modified.

FLUTTER ECHO

A flutter echo (echo flottant) is the localized emergence, in the reverberation of a room, of a specific frequency and its harmonics that remains stationary between two parallel and reflecting walls.

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HAAS

An effect, described by Helmut Haas in 1951, that corresponds to a gap in perception between direct wave and a reflected wave in order of one to thirty milliseconds.

HYPERLOCALIZATION

A perceptive effect linked to the sporadic character of a sound source that irresistibly focalizes the listener’s attention on the location of emission.

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IMITATION

INCURSION

A semiotic effect referring to a sound emission that is consciously produced according to a style of reference.

The incursion (irruption) effect refers to an unexpected sound event that modifies the climate of a moment and the behavior of a listener in a characteristic way.

IMMERSION

The dominance of a sonic micromilieu that takes precedence over a distant or secondary perceptive field. While it is possible that the submerged sound element may be heard temporarily, the dominant effect is primarily perceived as positioned above the background sound.

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INTRUSION

A psychomotor effect linked to territoriality.

The inopportune presence of a sound or group of sounds inside a protected territory creates a feeling of violation of that space, particularly when it occurs in the private sphere.

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LOMBARD

The greater the intensity of a sound environment, the greater the level of vigilance, regardless of the intelligibility of the signal.

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MASK

The mask (masque) effect refers to the presence of a sound that partially or completely masks another sound because of its intensity or the distribution of its frequencies.

METAMORPHOSIS

A perceptive effect describing the unstable and changing relations between elements of a sound ensemble. A classic figure of rhetoric, metamorphosis characterizes the instability present in structural relations that link parts of an ensemble and the resulting possibility to switch elementary components of a totality, so it is perceived as being in perpetual transition.

MIXING

A compenetration of different and simultaneous sound sources. In everyday life, the mixing effect implies close levels of intensity between the diverse sounds present.

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NARROWING

The narrowing (rétrécissement) effect refers to a sensation that the space is shrinking, which is felt by an emitter listening to the return of a sent message.

NICHE

An occurrence of a sound emission at the moment that is the most favorable and that offers a particularly well-adapted place for its expression. The niche (créneau) effect, which merges a sound message and a sound context, is one of the key instruments of sound action, and can operate on any component of sound: intensity, pitch, timbre, rhythm.

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PERDITION

PHONOTONIE

A semantic effect that might also be called the “dereliction” or “loss”. This effect is linked to a feeling of perdition, in the double sense of a soul in distress and the dissipation of a sound motif. The sound seems to be emitted for nothing for everyone to hear but requiring no answer. It is a sound without destination, absurd in the etymological sense; its entire expression is simply a sign of powerlessness.

This effect, also called the phonotonic effect, characterizes the feeling of euphoria provoked by a sound perception.

PHASE

An acoustic effect that desynchronizes the cycles of two simultaneous emissions of a sound signal.

PHONOMNESIS

This effect refers to a sound that is imagined but not actually heard.

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QUOTATION

The emergence, in a contemporary contest, of a sound fragment for which the semantic reference is confirmed. Contrary to imitation, quotation (citation) is a textual reprise and does not imply distance.

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RELEASE

REPULSION

An acoustic effect that describes the residual duration of a sound, from its cessation until silence or background noise.

A psychomotor effect referring to a sound phenomenon that produces in an uncontrolled or conscious way, an attitude of rejection and behaviors of flight, whether mental or real.

REMANENCE

A continuation of a sound that is no longer heard. After the extinction of both emission and propagation, the sound gives the impression of remaining “in the ear.�

REPETITION

RESONANCE

The resonance effect refers to the vibration, in air or through solids, of a solid element. The production of resonance requires a relatively high acoustic level and a concordance between the exciting frequency and the object put into vibration.

REVERBERATION A reappearance of similar sound occurrences.

A propagation effect in which a sound continues after the cessation of its emission. Reflections of the sound on surfaces in the surrounding space are added to the direct signal. The longer these reflections converse their energy, the greater the reverberation time.

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RUMBLE

An effect characterized by the inopportune whirring of a phonograph’s motor, picked up by the needle and added to the musical signal, literally creating a “rumble.”

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SHARAWADJI

SYNECDOCHE

An aesthetic effect that characterizes the feeling of plenitude that is sometimes created by the contemplation of a sound motif or a complex soundscape of inexplicable beauty.

For someone listening to a complex sound ambience, the synecdoche effect is the ability to valorize one specific element through selection.

SUSPENSION

A semantic compositional effect characterized by the feeling of non-fulfillment of a heard sound sequence: the sound seems to be suspended, awaiting continuation. This effect leaves the listener in a state of uncertainty, indecision, or powerlessness.

SYNCHRONIZATION

A psychomotor effect by which the rhythm of appearance of a sound phenomenon determines the beginning of an individual or collective perceptive or motor activity.

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TARTINI

The Tartini effect refers to the production of a sound that is physiologically audible, but has no physical existence.

TREMOLO

A fast pulsation characterizing the diffusion of a sustained sound, in the form of multiple repetitions articulated in discontinuous frequencies.

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UBIQUITY

An effect linked to spatio-temporal conditions that expresses the difficulty or impossibility of locating a sound source.

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VIBRATO

Vibration that affects a sustained sound.

Vibrato consists of a continuous modulation of intensity or pitch allowing one to enrich a sound.

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WALL

A composite effect in which a continuous high intensity sound gives the listener an impression of facing and ensemble of sound materialized in the shape of a wall.

WAVE

A compositional effect describing a sound or a group of sounds that we hear following a curve of intensity, the shape of which is analogous to shape of a wave and consequent undertow: crescendo, maximal point, fast or progressive rupture of the sound, and decrescendo.

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SOUNDSCAPE TERMS A summary of the terms used by R. Murray Schafer in the “Tuning of The World, The soundscape: Our Sonic Environment and Tuning of The World” book

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ALPHABETICAL LIST SOUNDSCAPE TERMS Acoustic Design Acoustic Ecology Acoustic Space Audioanalgesia Aural Space Clairaudience Ear Cleaning Earwitness Hi-Fi Keynote Sound Listening walk Lo-Fi Moozak Morphology Noise Sacred Noise Schizophonia Soniferous Garden Sonography Sonological competence Sound Event Sound Images Soundmark Sound Object Soundscape Sound Signal Soundwalk Sound walls

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ACOUSTIC DESIGN

A new interdiscipline requiring the talents of scientists, social scientists and artists (particularly musicians), acoustic design attempts to discover principles by which the aesthetic quality of the acoustic environment or soundscape may be improved. In order to do this it is necessary to conceive of the soundscape as a huge musical composition, ceaselessly evolving about us, and to ask how its orchestration and forms may be improved to bring about a richness and diversity of effects which, nevertheless, should never be destructive of human health or welfare. The principles of acoustic design may thus include the elimination or restriction of certain sounds (noise abatement), the testing of new sounds before they are released indiscriminately into the environment, but also the preservation of sounds (soundmarks), and above all the imaginative placement of sounds to create attractive and stimulating acoustic environments for the future. Acoustic design may also include the composition of model environments, and in this respect it is contiguous with contemporary musical composition.

ACOUSTIC ECOLOGY

Ecology is the study of the relationship between living organisms and their environment.

Acoustic ecology is thus the study of the effects of the acoustic environment of soundscape on the physical responses or behavioral characteristics of creatures living within it. Its particular aim is to draw attention to imbalances which may have unhealthy or inimical effects.

ACOUSTIC SPACE

The profile of a sound over the landscape. The acoustic space of any sound is that area over which it may be heard before it drops below the ambient sound level. soundscape terms

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AUDIOANALGESIA

The use of sound as a painkiller, a distraction to dispel distractions.

AURAL SPACE

The space on any graph which results from a plotting of the various dimensions of sound against one another. For convenience in reading usually only two dimensions are plotted at once. Thus time may be plotted against frequency, frequency against amplitude or amplitude against time. Aural space is thus merely a notational convention and should not be confused with acoustic space, which is an expression of the profile of a sound over the landscape.

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CLAIRAUDIENCE

Literally, clear hearing. The way I use the term there is nothing mystical about it; it simply refers to exceptional hearing ability, particularly with regard to environmental sound. Hearing ability may be trained to the clairaudient state by means of ear cleaning exercises.

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EAR CLEANING

A systematic, program for training the ears to listen more discriminatingly to sounds, particularly those of the environment.

EAR WITNESS

One who testifies or can testify to what he or she has heard.

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HI-FI

Abbreviation for high fidelity, that is, a favorable signal-to-noise ratio. The most general use of the term is in electroacoustics. Applied to soundscape studies a hi-fi environment is one in which sounds may be heard clearly without crowding or masking.

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KEYNOTE SOUND

In music, keynote identifies the key or tonality of a particular composition. It provides the fundamental tone around which the composition may modulate but from which the other tonalities take on a special relationship. In soundscape studies, keynote sounds are those which are heard by a particular society continuously or frequently enough to form a background against which other sounds are perceived. Examples might be the sound of the sea for a maritime community or the sound of the internal combustion engine in the modern city. Often keynote sounds are not consciously perceived, but they act as conditioning agents in the perception of other sound signals. They have accordingly been likened to the ground in the figure-ground grouping of visual perception.

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LISTENING WALK

Simply a walk with a concentration on listening.

LO-FI

Abbreviation for low fidelity, that is, an unfavorable signal-to-noise ratio. Applied to soundscape studies a lo-fi environment is one in which signals are overcrowded, resulting in masking or lack of clarity.

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MOOZAK

Term applying to all kinds of schizophonic musical drool, especially in public places. Not to be confused with the brand product Muzak.

MORPHOLOGY

The study of forms and structures. Originally employed in biology, it was later (by 1869) employed in philology to refer to patterns of inflection and word formation. Applied to soundscape studies it refers to changes in groups of sounds with similar forms or functions when arbitrarily arranged in temporal or spatial formations. Examples of acoustic morphology might be a study of the historical evolution of foghorns, or a geographical comparison of methods of telegraphy (alphorn, jungle drums, etc.).

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NOISE

Etymologically the word can be traced back to Old French (noyse) and to eleventh-century Provençal (noysa, nosa, nausa), but its origin is uncertain. It has a variety of meanings and shadings of meaning, the most important of which are the following: 1. Unwanted sound. The Oxford English Dictionary contains references to noise as unwanted sound dating back as far as 1225.

2. Unmusical sound. The nineteenth-century physicist Hermann Helmholtz employed the expression noise to describe sound composed of nonperiodic vibrations (the rustling of leaves), by comparison with musical sounds, which consist of periodic vibrations. Noise is still used in this sense in expressions such as white noise or Gaussian noise.

3. Any loud sound. In general usage today, noise often refers to particularly loud sounds.

In this sense a noise abatement by-law prohibits certain loud sounds or establishes their permissible limits in decibels.

4. Disturbance in any signaling system. In electronics and engineering, noise refers to any disturbances which do not represent part of the signal, such as static on a telephone or snow on a television screen.

The most satisfactory definition of noise for general usage is still “unwanted sound.” This makes noise a subjective term. One man’s music may be another man’s noise. But it holds open the possibility that in a given society there will be more agreement than disagreement as to which sounds constitute unwanted interruptions. It should be noted that each language preserves unique nuances of meaning for words representing noise. Thus in French one speaks of the bruit of a jet but also the bruit of the birds or the bruit of the waves. soundscape terms

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SACRED NOISE

SONIFEROUS GARDEN

Any prodigious sound (noise) which is exempt from social proscription. Originally Sacred Noise referred to natural phenomena such as thunder, volcanic eruptions, storms, etc., as these were believed to represent divine combats or divine displeasure with man. By analogy the expression may be extended to social noises which, at least during certain periods, have escaped the attention of noise abatement legislators, e.g., church bells, industrial noise, amplified pop music, etc.

A garden, and by analogy any place, of acoustic delights. This may be a natural soundscape, or one submitted to the principles of Acoustic Design. The soniferous garden may also include as one of its principal attractions a Temple of Silence for meditation.

SCHIZOPHONIA

(Greek: schizo = split and phone = voice, sound): I first employed this term in The New Soundscape to refer to the split between an original sound and its electroacoustic reproduction. Original sounds are tied to the mechanisms that produce them. Electroacoustically reproduced sounds are copies and they may be restated at other times or places. I employ this “nervous� word in other to dramatize the aberrational effect of this twentieth-century development.

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SONOGRAPHY

The art of soundscape notation. It may include customary methods of notation such as the sonogram or sound level recording, but beyond these it will also seek to register the geographic distribution of sound events. Various techniques of aerial sonography are employed, for instance, the Isobel contour map.

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SONOLOGICAL COMPETENCE

The implicit knowledge which permits the comprehension of sound formation. The term has been borrowed from Otto Laske. Sonological competence unites impression with cognition and makes it possible to formulate and express sonic perceptions. It is possible that just as sonological competence varies from individual to individual, it may also vary from culture to culture, or at least may be developed differently in different cultures. Sonological competence may be assisted by Ear cleaning exercises.

SOUND EVENT

SOUND IMAGES

Notation is an attempt to render aural facts by visual signs. The value of notation for both the preservation and analysis of sound is therefore considerable.

SOUNDMARK

The term is derived from landmark to refer to a community sound which is unique or possesses qualities which make it specially regarded or noticed by the people in that community.

Dictionary definition of event: “something that occurs in a certain place during a particular interval of time.� This suggests that the event is not abstractable from the time-and-space continuum which give it its definition. The sound event, like the sound object, is defined by the human ear as the smallest self-contained particle of abstract acoustical object for study, while the sound event is a symbolic, semantic or structural object for study, and is therefore a nonabstractable point of reference, related to a whole of greater magnitude than itself.

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SOUND OBJECT

SOUND SIGNAL

Pierre Schaeffer, the inventor of this term (l’object sonore), describes it as an acoustical “object for human perception and not a mathematical or electro-acoustical object for synthesis.” The sound object is then defined by the human ear as the smallest self-contained particle of a soundscape, and is analyzable by the characteristics of its envelope. Though the sound object may be referential (i.e., a bell, a drum, etc.), it is to be considered primarily as a phenomenological sound formation, independently of its referential qualities as a sound event.

Any sound to which the attention is particularly directed. In soundscape studies sound signals are contrasted by keynote sounds, in much the same way as figure and ground are contrasted in visual perception.

SOUNDSCAPE

The sonic environment. Technically, any portion of the sonic environment regarded as a field for study. The term may refer to actual environments, or to abstract constructions such as musical compositions and tape montages, particularly when considered as an environment.

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SOUNDWALK

An exploration of the soundscape of a given area using a score as a guide. The score consists of a map, drawing the listener’s attention to unusual sounds and ambiances to be heard along the way.

SOUND WALLS

Walls used to exist to delimit physical and acoustic space, to isolate private areas visually and to screen out acoustic interferences. Today sound walls exist to isolate.

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SOUND CLASSIFICATIONS

A classification of sounds used by R. Murray Schafer in the “Tuning of The World, The soundscape: Our Sonic Environment and Tuning of The World” book

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8 SOUND CLASSIFICATIONS

A. SOUNDS OF CREATION C. NATURAL SOUNDS B. SOUNDS OF APOCALYPSE D. HUMAN SOUNDS E. SOUNDS AND SOCIETY G. QUIET AND SILENCE F. MECHANICAL SOUNDS H. SOUNDS AS INDICATORS

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C. NATURAL SOUNDS

1. SOUNDS OF WATER

4. SOUNDS OF FIRE

Oceans, seas and lakes Rivers and brooks Rain Ice and snow Steam Fountains, etc.

Large conflagrations Volcanoes Hearth and camp fires Matches and lighters Candles Gas lamps Oil lamps Torches Festival or ritual fires

2. SOUNDS OF AIR

5. SOUNDS OF BIRDS Wind Storms and hurricanes Breezes Thunder and lightning, etc

3. SOUNDS OF EARTH

Sparrow Pigeon Kideer Hen Owl Lark, etc.

Earthquakes Landslides and avalanches Mines Caves and tunnels Rocks and stones Other subterranean vibrations Trees Other vegetation

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6. SOUNDS OF ANIMALS

6. SOUNDS OF SEASONS

Horses Cattle Sheep Dogs Cats Wolves Gophers, etc.

Spring Summer Fall Winter

7. SOUNDS OF INSECTS

Flies Mosquitoes Bees Crickets Cicadas, etc.

8. SOUNDS OF FISH AND SEA CREATURES

Whales Porpoises Turtles, etc.

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D. HUMAN SOUNDS

1. SOUNDS OF THE VOICE

3. SOUNDS OF CLOTHING

Speaking Calling Whispering Crying screaming Singing Humming Laughing Coughing Grunting Groaning, etc.

Clothing Pipe Jewelry, etc.

2. SOUNDS OF THE BODY

Heartbeat Breathing Footsteps Hands (clapping, scratching, etc.)

Eating Drinking Evacuating Lovemaking Nervous system Dream sounds, etc.

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E. SOUNDS AND SOCIETY

1. GENERAL DESCRIPTIONS OF RURAL SOUNDSCAPES

Britain and Europe North America Latin and South America Middle East Africa Central Asia Far East

4. MARITIME SOUNDSCAPES

Ships Boats Ports Shoreline, etc.

5. DOMESTIC SOUNDSCAPES

2. TOWN SOUNDSCAPES

Britain and Europe, etc.

3. CITY SOUNDSCAPES

Kitchen Living room and hearth Dining room Bedroom Toilets Doors Windows and shutters, etc.

Britain and Europe, etc.

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6. SOUNDS OF TRADES, PROFESSIONS, AND LIVELIHOODS

Blacksmith Miller Carpenter Tinsmith, etc.

7. SOUNDS OF FACTORIES AND OFFICES

Shipyard Sawmill Bank Newspaper

8. SOUNDS OF ENTERTAINMENTS

9. MUSIC

Musical instruments Street music House music Bands and orchestras, etc.

10. CEREMONIES AND FESTIVALS

Music Fireworks Parades, etc.

11. PARKS AND GARDENS

Fountains Concerts Birds, etc.

Sports events Radio and television Theater Opera, etc. sound classifications

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12. RELIGIOUS FESTIVALS

Ancient Greek Byzantine Roman catholic Tibetan, etc.

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F. MECHANICAL SOUNDS

1. MACHINES (GENERAL DESCRIPTIONS) 2. INDUSTRIAL AND FACTORY EQUIPMENT (GENERAL DESCRIPTIONS) 3. TRANSPORTATION MACHINES (GENERAL DESCRIPTIONS) 4. WARFARE MACHINES (GENERAL DESCRIPTIONS) 5. TRAINS AND TROLLEYS

Steam locomotives Electric locomotives Diesel locomotives Shunting and yard sounds Coach sounds Street cars, etc.

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6. INTERNAL COMBUSTION ENGINES

Automobiles Trucks Motorcycles, etc.

7. AIRCRAFT

Propeller aircraft Helicopters Jets Rockets, etc.

8. CONSTRUCTION AND DEMOLITION EQUIPMENT

Compressors Jackhammers Drills Bulldozers Pile drivers, etc.

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9. MECHANICAL TOOLS

Saws Planes Sanders, etc.

10. VENTILATORS AND AIR CONDITIONERS 11. INSTRUMENTS OF WAR AND DESTRUCTION 12. FARM MACHINERY

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H. SOUNDS AS INDICATORS

1. BELLS AND GONGS

Church Clock Animal, etc.

2. HORNS AND WHISTLES

5. (OTHER) WARNING SYSTEMS 6. (OTHER) SIGNALS OF PLEASURE 7. INDICATORS OF FUTURE OCCURRENCES

Traffic Boats Trains Factory, etc.

3. SOUNDS OF TIME

Clocks Watches Curfew Watchmen etc.

4. TELEPHONES

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SURVEY RESULTS An analysis of survey results, the objective is to gather first hand quantitative information to aid in dealing with the design issue

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AGE AND GENDER 75% female

25% male

10% < 20 years old

90% 20 - 35 years old

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EMPLOYMENT STATUS

20% working professionals

80% students

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SPACE IDENTITY AWARENESS Are you aware of space identity?

42,5% yes

57,5% no

Analysis People has not fully aware yet of the space identity in their surroundings.

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SPACE IDENTITY DEFINITION Define space identity in your own words • • • • • •

characteristic of a space identity through senses something that makes you remember of the space something special and unique in a space distinct value easy to recognize

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RANK OF SENSES

Rank the senses in experiencing a space

1. sight

80%

2. hearing

50%

3. smell

50%

4. touch 5. taste

67.5% 90%

Analysis Sight has always been utilized first before other senses when experiencing and perceiving space. Hearing, which ranked as second place proves that sound also play important role when one experiences a space.

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IMPORTANCE OF SOUND

Do you think sound is important when perceiving and identifying space?

10% no

90% yes

Analysis Besides sight, hearing was the second sense used in experiencing a space

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IDENTIFYING SPACE THROUGH SOUND Compare the 2 sounds given and identify the place

ION Orchard

35% Track A

65% Track B

Bugis Street

35% Track A

65% Track B

Analysis The two tracks given were recorded in two different places, namely Bugis Street and ION Orchard. The reason behind the choice of the places was to show the difference of the spaces through auditory sense with slightly obvious result. Bugis Street (Track A) is slightly noisier than ION Orchard (Track B). When the participants listen closely, they might be able survey results

point out few soundmark that makes it easier to differentiate. Majority of the participants are able to differentiate the two spaces from the tracks given.

acoustic identification

61

IMPORTANCE OF PRESERVING SOUNDMARK Do you think preserving soundmark is important?

22,5% no

77,5% yes

Analysis Most people do appreciate soundmark in their surroundings

survey results

acoustic identification

62

CARTOGRAPHY USAGE IN SOUNDMAPPING Do you think preserving soundmark is important?

20% no

80% yes

Analysis By using cartography in communicating the soundmark based on their geospatial area do help in understanding space identity better.

This proves that cartography plays important role by mapping out the soundmark of a space and visualize it through map based on the geospatial area. With soundmap, people have better idea of a space through auditory sense.

survey results

acoustic identification

INTERVIEW RESULTS An analysis of interviewresults, the objective is to gather first hand qualitative information to aid in dealing with the design issue

64

In your own opinion, what do you think “space identity” is? How will you explain or describe “space identity” after clarifying it?

Alvin Chua

subjective understanding of place, space become place when we attach memory and emotions to it

Bani Haykal

uniqueness or differences in space

Dennis Tan

something that can be identified, identity changes and develop anyway

Germaine Chen

how people perceive space, how memorable, how it triggers memories, very iconic

Reza San

an identity that is easily recognized by a person who visited the place before

Stanley Lim

the uniqueness of the space that allows you to identify it immediately

Analysis Most of the participants define space identity as something that is unique, different, easy to identify, memorable, and iconic, while culture also plays important role in shaping the space identity. It was highly evident to say that, space identity can be described as something that is unique and special that is easy to be noticed by people in a space, also it triggers your memory when you encounter the thoughts of the space itself.

interview results

acoustic identification

65

Statement: “Often people perceive a space merely through visual.”

From the statement above, in your own opinion, what are your thoughts on it?

Alvin Chua

I don’t believe that’s the case. It’s probably not true. Sound, smell, taste and touch all play a part.

Bani Haykal

visually is the easiest to locked on to

Brian O’Reilly

we hear before we can already see, from our mother’s womb, then suddenly sight is dominating

Darren Ng

Yes and no. People often perceive space through visual is reliance, taken for granted. Most straightforward sense, giving you sense of security. Categorized them in hierarchy manner, sight as the first.

Dennis Tan

you are missing the intricate details of space when you perceive space through sight only

Germaine Chen

It’s true

Jonathan Prior

I understand this statement to be incorrect.

Peter Cusack

I do not agree with this statement. Spaces are perceived by all our senses all of the time.

Reza San

I agree on the statement. Visual is the first sense we use to perceive space.

Stanley Lim

It’s true

Zul Mahmod

I agree, people are visually trained

interview results

acoustic identification

66

Analysis The result is slightly contradicting as half of the participants agreed to it and some did not really agree on it. Some of the participants agreed to the statement and the reason was people have been trained to see visually. In addition, it is taken for granted and people rely too much on sight. If sight were taken from human, they will lose sense of security. Thus, visual is something that we have been locked on to and it is the easiest, fastest sense when perceiving a space. People tend to take it for granted on top of other senses.

On the contrary, other participants denied the statement. Some participants said that other senses played part beside sight. When you depend too much on sight, you will also lose the details that space offered to be sensed with other senses. Hierarchy also takes part, a participant stated that it is actually depends on the situation, we still sense other things besides visual. However, sight mostly placed first before others. Brian Oâ&#x20AC;&#x2122;Reilly said some interesting things about hearing, human hear first before see. Brian said that when we were not born yet, we already hear things when we were inside our motherâ&#x20AC;&#x2122;s womb. Suddenly when you were born, sight takes over the hearing sense.

interview results

acoustic identification

67

Do you think other things like scent, sound, or other senses plays important role in perceiving a space?

Alvin Chua

yes, I do. Sound, smell, taste and touch all play a part.

Bani Haykal

yes, especially when you are out of your comfort zone, you will utilize your senses more

Brian Oâ&#x20AC;&#x2122;Reilly

yes, they also play important roles

Darren Ng

Of course. Is not something that people are trained to. We do depend on other senses in defining space.

Dennis Tan

of course

Germaine Chen

Yes, I think itâ&#x20AC;&#x2122;s quite important

Peter Cusack

Yes, certainly

Reza San

Definitely, I think sense of sight divides us from the world but the other senses actually unites us with the space we're in

Stanley Lim

There is, scent brings up memories

Zul Mahmod

definitely, you need some senses to form an experience and identity of space

interview results

acoustic identification

68

Analysis Participants agreed upon other senses importance besides sight. One commented that we utilize our senses more when we are out of comfort zone. For example, when you experience a new place, you will try to sense the things available in that place for full experience. This evidently shows that human uses not only sight but also other senses when experiencing a space. Though we are not trained to utilize all the senses, we do depend on other senses in defining space was stated by a participant. Therefore, all of our senses actually plays important role in experiencing and perceiving space. The reason behind lack of appreciation of our senses was mainly because we are not trained to, we depend too much on one sense only, and some senses are taken for granted.

interview results

acoustic identification

69

The term “soundmark” found and used by Schafer in his book, the soundscape. It means a sound that is unique for a space. So, based on the term soundmark, do you think Singapore has its own unique soundmark? If so, is it important to preserve it?

Alvin Chua

Singapore as a city may not have one defining soundmarks. It most certainly has a few. I would refer to them as a collection of sounds that describe the character of Singapore.

If you mean to archive these sounds then I would suggest you to also record video, smell, taste, etc.

Bani Haykal

Different little subtleties that given small flavor change nothing so that everything would be different archival is alright, but sound should be flourished and let it be alone

Brian O’Reilly

Construction? Yes, there is soundmark for different spaces like for example woodland it is important to preserve it, I think should be recorded and documented

Darren Ng

Definitely. On macro level, every country has their soundmark. The way we talk, Singaporean talk, we still have our own soundmark.

It is personal tact on it. The way you perceive the soundmark is different for every person. To preserve it, yes. But depends on the method, if you want to take purist approach then maybe recording is one way of it.

Dennis Tan

I’m a bit skeptical with preserving. I don’t see a need to preserve, except archival yes. You can preserve through recording.

Germaine Chen

Yes, like hawker centre, it’s quite unique.

Preserving, it is something comes naturally, you can’t force it.

Jonathan Prior

Soundmark preservation isn’t always a good thing – our soundscapes are dynamic things that constantly change, due not only to human but also nonhuman influences

interview results

acoustic identification

70

Peter Cusack

I do think it is important to preserve the sonic identities and uniqueness of places, although ‘soundmarks’ are not the only consideration here.

Reza San

Singapore has a very unique identity. It can’t be found anywhere in the world.

Definitely it is very important to preserve the new Singapore culture as the identity doesn’t happen overnight but is built with a lot of stages.

Stanley Lim

Every country does have soundmark. It is.

Even if it’s not preserving, at least draw attention to it

Zul Mahmod

Singapore is very unique place.

It’s important for archive.

Analysis Whether Singapore has its own soundmark, most of the participants agreed that Singapore has its own soundmark. They think not only Singapore has soundmark, every country has its own soundmark. Some stated constructions, Singlish, hawker centre, etc. as part of Singapore’s unique soundmark. They are all unique in their own and it contributes in shaping the character of Singapore.

to preserve it, although besides soundmark there is also other considerations. On top of that, Stanley Lim, a designer mentioned that probably at least it needs to draw people’s attention to the soundmark to let them have interest on it. Another part of gaps highlighted in the literature review were covered with the information above, the importance of preserving soundmark.

Most of them agreed upon archiving the soundmark. They think it is important to preserve it with archival approach by recording and documenting the soundmark. Few of them think that sound should be flourished, let alone change and grow naturally. It is something that cannot be forced. In relation to that, a participant said that even when you record it down, you still would not be able to experience the full experience of the soundmark.

Peter Cusack also highlighted it is important interview results

acoustic identification

71

In your own opinion, how sound has inspired your work or your profession?

Alvin Chua

It has neither inspired my work nor profession. Sound was simply a material that I used to experiment with form

Bani Haykal

Finding alternative means to share the sounds and put them in different context to challenge people perception on the sound they heard

Brian Oâ&#x20AC;&#x2122;Reilly

Sound is major part of my life. Huge influence on myself

Darren Ng

Very much, it influence the way I design and compose

Dennis Tan

just as life has inspired me, same as sound

Germaine Chen

It played some part in my project

Jonathan Prior

Sound is what I work with, both as an artist and as a Human Geography researcher

Stanley Lim

Sound slightly play important role as in music. I wanted people to realize interaction in space with everyday sounds

Reza San

Sound is a unique data that I can use to produce visualisation. I love visualizing data and I think data can make us more human

Zul Mahmod

I was from fine arts, sculpture. then i tried to experiment with sound

interview results

acoustic identification

72

Analysis The result has shown that most of the participants were influenced by sound whether it is directly or indirectly. Sound has taken part in their profession or project, consciously or unconsciously.

interview results

acoustic identification

73

What is cartography to you? How does this method enhance your design?

Alvin Chua

My research deals with the big data phenomena and how urban planning will confront the challenges it poses. I use maps for two purposes. (1) To put data back into the space it was created, then look for patterns. (2) I use maps for communication.

I think maps have a certain visual style to it that communicates complexity and they pack so much information into a 2D display.

Brian Oâ&#x20AC;&#x2122;Reilly

In sonic world: placeholder for your memory, assign meaning to sound

Darren Ng

Something is important, help you navigate, a method to signature a place for design, gives a sense of security and definition for the audience By using sound, you landmark the space and changes the space

Dennis Tan

To provide a based where things are acceptable by people aesthetically. Cartography is important

Germaine Chen

Cartography, mainly the idea of mapping something. It adds new depth by dealing with location.

Jonathan Prior

Both as a sound artist and geographer, sonic cartography is very important, as it can potentially destabilize the notion that map making is only a visual practice

Reza San

Cartography is the art of mapping. I used it to map sound.

Stanley Lim

More than mapping spaces. Cartography is a bit different for now.

There are so many things to map out now.

interview results

acoustic identification

74

Analysis The results shown that the meaning differs from one to another person with averagely stated that it is important. It is probably related to their profession and background.

can be mapped out through cartography. By assisting the information with location, it adds new depth into it. Thus, cartography now has deeper and expanded scale rather than just mapping out location.

Alvin Chua, a designer dealing with data visualization mentioned that he works with map often. It is because of the characteristic of the map which is communicating complexity of data in a 2D visualization. It is able to contain large information into flat surface display.

Thus, cartography enables you to communicate and visualize large scale information into simpler 2D display for better understanding of the information itself.

Brian Oâ&#x20AC;&#x2122;Reilly who specialized in music and sound communicated more into sonic world in terms of cartography. He said that it helps you assign a meaning into sound and it acts as a placeholder for memory. In this sense, cartography also acts as a tool to make things more meaningful.

Cartography viewed as important from Darren Ngâ&#x20AC;&#x2122;s perspective. It has a lot of functions such as navigating, assign a place in design, giving a sense of security and definition for the audience. Through sound, you are making landmark of the space and resulting in changing the space. So as to said, cartography not only giving you a direction, but it also makes you feel secure.

Designers, Germaine Chen and Stanley Lim said that cartography is not merely about mapping spaces. As design world has expanded, there is so many information and things that interview results

acoustic identification

75

Do you think the art of cartography in mapping the soundmark help people to better appreciate the soundmark?

Alvin Chua

I’m not sure about that. I believe appreciate is hard to achieve.

Maybe communicate?

Brian O’Reilly

If people are interested on it, yes. For me it is important.

Darren Ng

Yes and no maybe, depends on the individual. What does it means to an individual.

Germaine Chen

Yea, it does. When you mapping soundmark, you are mapping a place.

Jonathan Prior

Potentially – depends on how this cartography is disseminated, I think that online sound maps certainly help with the appreciation of soundmarks

Peter Cusack

Yes cartography can definitely help people appreciate the many different roles of sound in our environment. Maybe it would be interesting to make a map of Singapore’s favourite sounds.

Reza San

I think it will benefit potential tourists the most, as they get full experience in addition of the photographs

Stanley Lim

I think it would be great to draw their attention first, and having it mapped in the places.

interview results

acoustic identification

76

Analysis Most of the participants think that it is important role cartography played in mapping out the soundmark. However, to gain peopleâ&#x20AC;&#x2122;s appreciation on soundmark is rather hard. Not all people are interested to. Few suggested starting with communicating to audience and drawing their attention first. Jonathan Prior, a sound artists and geographer feels that sound maps available online certainly help people to appreciate soundmark. Peter Cusack suggested that it would be interesting to see Singaporeâ&#x20AC;&#x2122;s favorite sounds mapped. Reza San, a designer views that tourists would be benefited most, as it lets them to fully experience the country besides photograph or still images of the country.

interview results

acoustic identification

USER TESTING

An analysis of user testing result, the objective is to user test the outcome of studio in the previous semester

78

AGE AND GENDER < 20 years old

20 - 35 years old

> 35 years old

user testing

acoustic identification

79

ACOUSTIC WORDBOOK

a reference book of terms and classifications used in sound and the effects of sound.

user testing

acoustic identification

80

Do you think the â&#x20AC;&#x153;acoustic wordbookâ&#x20AC;? is effective in communicating the terms related to the project?

91,7% agreed on the effectiveness

8,3% did not agree

user testing

acoustic identification

81

ACOUSTIC IDENTIFICATION

A flash application where you can preview and listen to the sounds available in Singapore. Navigate through the side tabs for sounds in each area. Detailed information for each place is available on acoustic diary book.

user testing

acoustic identification

82

Are you more aware of surroundingâ&#x20AC;&#x2122;s sound (soundscape) after viewing the flash application?

5,6% said no

94,4% said yes

After viewing the flash application, are you able to differentiate spaces based on their sound?

60,5% 39,5% answered yes

user testing

answered no

acoustic identification

83

ACOUSTIC DIARY

a guide book accompanying digital acoustic diary, find out detailed information of places with soundmark in Singapore

user testing

acoustic identification

84

What about the â&#x20AC;&#x153;acoustic diaryâ&#x20AC;?? Is it necessary to accompany the flash application?

94,3%

said yes

5,7% said no

user testing

acoustic identification

85

Do you think it is important to preserve the soundscape?

63,9% 36,1%

answered yes answered no

27,8% 72,2% yes no

Do you think Singapore has its own unique sound?

Do you like the whole art direction?

100%

respondents like the art direction

user testing

acoustic identification

86

COMMENTS, SUGGESTIONS, AND CRITICS You might want to reduce the grammage of the paper for both books I really like the flash app! Really well done

Maybe add more colours to differentiate the “type” of sound that can be heard, like natural to manmade, etc Maybe can input more visuals of sounds! Like a sound flip book or something I think it can reflect more of Singapore. Right now it looks pretty neutral – the art direction The button of the play should be directly play the sound

There should be an introduction for the purpose of the acoustic identification Compile all the sound and manipulate it

Make a more interactive interface The sound that was recorded makes me aware more of the difference sound each place made. Maybe you can compare 2 similar space in 2 different location An interactive book with audio

A lot of special sound has gone, need to preserve it more Maybe the flash website need more animation/ videos to make it more interesting Singapore unique sound, when they communicate with Singlish Typeface poster, inspired from sound and your previous outcome The flash app is nice, very detail, and for example in one place you can collect from few different areas which has different soundscape which is interesting The steps required to listen the sound is too long Maybe you can take the project a step further by using colors to accompany sounds user testing

acoustic identification

87

I love your art direction

The acoustic wordbook is effective but the objective and rationale has not been explained. Why are you doing this? What is the message you want to tell?

The app is enough but book is good for accompaniment The flash app can be more submissive and give a deeper experience. How can the user really feel like they are there.

Put in more effort for CPJ Maybe create app?

Really nice! I like the acoustic diary.

For the acoustic wordbook, I think the words shouldnâ&#x20AC;&#x2122;t be separated cause its quite hard on the eyes.

I like the layout and photos in the acoustic diary. But the one in the wordbook is quite hard to read.

I think some visuals will be good to help to soften the look.

Maybe accompany each explanation in word books with the sound?

The thing does not address the topic you are working with, sound. Maybe you could use your logo to hint that the book is about sound. I think you need visual image on cover as well.

Donâ&#x20AC;&#x2122;t break up the words with random hyphens

Some places are clear to differentiate (e.g. casino, uss) The acoustic diary is necessary to give extra information about the individual venue itself Great layout, pleasant colors!

Instead of the acoustic wordbook, I think posters may work better I think the website alone communicates a lot better that the books. The website is also more attractive than the books. However, the books are well-designed. Good effort! user testing

acoustic identification

88

Totally like the whole art direction Flash app, need label for the orange point Click photo to make it bigger so the viewer could see the picture clearly Fun project, the flash is the focus while the acoustic diary I think can be more focused on visualizing the sound in addition to the photograph of the spaces. The acoustic wordbook is very clear.

The acoustic wordbook: you can understand the terms of the word, however it is difficult to digest.

A bit too boring also. It feels like a dictionary.

I like the acoustic diary. I enjoy looking at the book as I am a book person. It feels more personal and closer.

I like the whole art direction, it is very consistent and the colors are very soothing/ relaxing

I think you should state why it is important to preserve the soundscape Maybe you should mention the importance of soundscape first. Because not everyone realize or know the importance of soundscape Preserving the soundscape, is it going away? How?

I think the preservation would be more important to tackle than identifying the soundscape

user testing

acoustic identification

ACOUSTIC IDENTIFICATION