SONIC
WILD
NESS


Schulz Vazquez, Luiza

“Soundscape”, in science and art is before all pre-conceptions a physical phenomenon. In spite of all allusions and personal opinions regarding its action, in certain contexts, as positive and negative agent, it reaches certain frequencies of low and high tones, as a sonorous wave, perceptible or non-perceptible - although present - within the layers of a sonorous spectrum, towards the landscape of the journey of a mechanic sonic wave.

Sound might behave similar as water: it always finds a way to pass through. Because of its transparent quality and energy, sound travels as frequencies in periods of time through the air. It reaches distances, objects and even perhaps transgress dynamically the limits of a space. For example, when surprised by an emergent sound "invasive" or "private", caught by an impulse of perception's attention, sound distracts the focus at the moment and acts distinguished from others, in a hierarchy of sounds, which surrounds an environment. Reasonable or not, this sound carries the critical potential of being interpreted as a noise, rather than an alarmingly beautiful balanced element within a composition of musical sounds.

When Pythagoras, in ancient Greece, taught his students behind a curtain, his idea was to bring the attention to the knowledge in which content was transmitted through sound, in a vocabulary of words.

Contrary to the sound of the “big bang”, the beginning of a word or even perhaps the creation of a new language, the sonic reaction of machines, etc. is right on the centre of one objective: it communicates one described image. In that case, machines and humans are quite the same, apart from the fact that humans can hear and imagine.

When a subjective sound hides its source and lacks a meaning to the comprehension, it still reaches in meters - as an ungraspable object - each listener’s ear in which sound triggers the comprehension a potential aesthetic experience and opinion. The subjective interpretation of the receiver is naturally independent from the sound itself. It is sometimes, perhaps a challenge, to inform precisely, to avoid the misunderstanding and communicate achieving a common comprehension with articulated sounds in certain space and a certain time in musical phrases. The pre-established subjective interpreation of the social meaning of “noise” colapsed in two spheres of thought, which potentially raises an ambigous character that is relevant and perhaps decisive in strategies for the development in various societies.While themes such as “sound pollution” and “dissonance” within the art of sound in which rather theoretical conceptual throughts are observed, for example as an element of tension in the composition, acts for other circles of research as environmental and social political decisions priorirly. “Noise” is essentially the behaviour of sound as a phenomenon of architechtural pollution that might cause disturbance and distort the shape and dynamic of an atmosphere in a day-a-day context of “sounds” in a “long-earing-term”.

Like music for composers, “noise” is also observed with calculable parameters, encountering an emergent form of perfection for art: the absolute hope of a poetic plan that reaches an ungraspable beauty - when, as uncontrollable nature, it acts as a dangerous deafening character of risk.



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© 2022 Luiza Schulz Vazquez