The Relationship Between Our Senses And Architecture

The Relationship Between Our Senses And Architecture à ¢Ã¢â€š ¬Ã‚ ¦. we all begin as hearing beings our four and a half month baptism in a sea of sound must have a profound and everlasting effect on us but from the moment of birth onward, hearing seems to recede into the background of our consciousness and functions more as an accompaniment to what we see. Why this should be, rather than the reverse, is a mystery: why does not the first of our senses to be activated retain a life long dominance of all the others? -Walter Murch In modern times, the eye has become the central point of the perceptual world. The primal dominance of hearing has been progressively replaced by the sense of vision. The hierarchy of the senses was not the same as it is today, where the eye, which dominates today, was in third place behind the sense of hearing and touch. The eye which is the governing organ of today was not the superior organ of the time which preferred hearing. Walter J Ong points out that the shift from oral to written speech was essentially a shift from sound to visual space. (Pallasmaa, 2005, pg 24). The will to power is very strong in vision. There is a very strong tendency in vision to grasp and fixate, to reify and totalize: a tendency to dominate, secure and control states David Michael Levin(Pallasmaa, 2005, pg 17). Architecture is considered to be the mother of all arts as it provides spaces for daily activities of life unlike the other forms of art. But it should be more than simply just for utilitarian purposes; it should also appeal to our aesthetic sensibilities. By combining colours, materials and shapes together, architects give out their artistic message in the structures that we see, hear and feel. (Blesser and Salter, 2007) Nonetheless the architecture of our time is turning into the retinal art of the eye: architecture has greatly become an art of the printed image. Instead of experiencing our being in the world, we behold it from the outside as spectators of images projected on the surface of the retina. (Holl, Pallasmaa and Gomez, 2006, pg 29). Archdaily and other such websites are daily reminders that architecture is a slave to its image. The callousness of contemporary architecture has resulted in an outcome of the negligence of the body and the senses, leading to an imbalance in our sensory system. The suppression of the other senses due to the domination of the sense of sight has resulted in the isolation, detachment and alienation of the individual (Pallasmaa, 2005). The aim of most architects is to have their buildings looking great in a set of photographs. However anyone who has visited a great piece of architecture knows that the experience is very different and often much better than that of seeing it in photos. This is not only because of the added dimensions of depth and time are absent in the photographs, but because touch, taste, smell and, of course sound are also missing. The mission of architecture in general is to renovate the experience of an undifferentiated interior world, in which we are not mere spectators, but to which we inseparably belong. In their book, Questions of Perception; Phenomenology of Architecture, Holl, Pallasmaa and Gomez imply that architecture involves all the senses interacting and infusing with each other. In compariso n to a painting which is only two-dimensional, the painter will have to express his world with his system of colours which must generate this invisible complex of impressions. Sight is solitary and tends to separate us from the world where as the other senses unite us with it. A walk through a forest is said to be invigorating and healing because it interacts with all of our senses and not just a few. We can hear the sound of the leaves rustling in the wind, get the scent of berries or raisins, and feel the warmth of sunlight filtering through the leaves. Blesser and Salter point out that, similar to poetry, architecture also contains symbolic meaning which portrays the culture and background of the architect, which he would depicts through spatial elements. Not only poetry, but even music is compared to architecture. Libeskind refers to the relationship of music and architecture not only by metaphor, but also through concrete spaces. He goes on to say, Every building that I have admired is, in effect a musical instrument whos performance gives space a quality that often seems to be transcended and immaterial. Goethe refers to architecture as being frozen music as architecture and music share the same vocabulary; rhythm, proportion, harmony, repetition and contrast. In architecture these 5 elements can be represented in form, layout, circulation and site location. Zaha Hadid designed a music chamber which holds the solo performances of composer JS Bach, and the design is a visual representation of Bachs music. Yet architects generally consider the visual aspect of the building. The writings of modernist architect Le Corbusier state: I exist in life only if I can see and one needs to see clearly to understand (Pallasmaa 2005, pg 27). The gestalt laws of visual perception are frequently used to analyse the experiences and perceptions of architectural form. Very rarely is the aural perception or acoustic aspect considered. This is because the modern culture has essentially adapted towards visual communications and has little appreciation for the emotional influence of hearing, and hence attaches little or no value for the art of auditory spatial awareness. Secondly, the aural experience of a space is continuously fleeting and disappearing instantly. There is no method of capturing and storing the aural experience of a space in museums, journals or archives. In contrast, the visual aspect of architecture can be recorded by means of sketches or photographs, and in this way the works of the prev ious generations can be learned about, even if the building does not exist anymore. Also the aural architecture of a space cannot be experienced without having dynamic events that produce sound, and inhabitants who complete the aural architecture. Another reason for the overlooking of aural architecture is that for most people the aural memory of the space and the language for describing this memory is weak and insufficient. Think about describing the sounds of a place, other than describing the events that caused the sound. Finally, most architects are awarded with prizes based on their visual portfolio, and they in turn train the next generation of architects to concentrate on the visual experience of a space. Questions about acoustic architecture are generally not familiar and professional architecture and design schools provide little or no training in aural aesthetics (Blesser and Salter, 2007) Nevertheless the aural experience of a space is very important as it has significant influence on the mood and behavior of the people within those settings. Sound is necessary for the social and emotional well-being of the user. It has the ability to touch our souls and speak to us at a vey profound level. It has the power to calm us, inspire us, uplift as well as heal. The way we experience a space is largely determined by our aural perceptions of that space. Unfortunately, as mentioned earlier, modern culture has little appreciation for the emotional influence of hearing. Without music in movies, there would be no suspense, no excitement and no horror. Architecture without its aural properties would be like a movie without music (or sound track). There is no such thing as a silent room. Sound always exists in a space, and every space has acoustic properties which influence and change the sound. For this reason sound never exists in pure form because the space it exists in will alter it. Move a symphony orchestra to the forest and it will not sound the same even though the sound source is consistent. It would loose the aural impact and intimacy of a concert hall. Ever wondered why you sound better when singing in the bathroom in comparison to the living room? This is due to the acoustic properties of the bathroom, which is taking advantage of the resonance of a small space. Likewise every space has aural qualities which have the ability to affect the social and emotional well-being of the inhabitant although they may not be consciously aware of it. The acoustics of a grand cathedral can create an exalted mood; those of a chapel can enhance the privacy of quiet contemplation; those of an elevator can produce the feeling of encapsulation and, in the extreme, claustrophobia (Blesser and Salter, 2007). The aural architecture of a space could have a social meaning as well. The marble floors and walls of a lobby would indicate an approaching visitor by the loud echo of their footsteps. In contrast, the materials used in the living room would be thick carpeting, heavy draperies and upholstered furniture which would tone down the sound of footsteps. The aural aspects of the lobby therefore verify whether one is entering a public of private space. If these same materials were applied to the living room, the acoustic attributes would convey a different feeling; c old, hard and barren, in comparison to warm, soft and intimate. (Blesser and Salter,2007,) Many times the visual and aural meaning of the space goes hand in hand, and reinforce each other. The vastness of the cathedral can be related through vision, whilst the engulfing echoes communicate through the ears. However this is not the case all the time as there are instances where the visual and aural aspects are not mutual. For instance an expensive restaurant may give the visual impact of having a relaxed and elegant atmosphere, but the echo of clattering produces stress, anxiety and tension, making it difficult to socialize. (Blesser and Salter, 2007) The natural ability for human beings to sense a space by listening is hardly ever recognized. Many people think that sensing spatial attributes requires a special skill, but all individuals do it almost naturally and on a daily basis. Observing that ordinary people hear dormant objects and sense spatial geometry needs a valid explanation (Blesser and Salter, 2007). Architecture does not radiate light and yet it can be seen. This is because it reflects light, and this gives us knowledge about the form and material of the building. This same principle applies to sound, where we hear the sound that is reflected off the surfaces of the building and this too gives us an impression of the form and material of the building (Steen Eiler Rasmussen). The reverberation is the auditory mean by which we become conscious about spaces around us, and their properties. The space becomes audible. We then begin to see with our ears (Blesser and Salter, 2007). Each building or space will reverberate dif ferently depending on the material used and the shape of the rooms. Sound is invisible, but has the power to change the character of the space we occupy. -Julia Schulz-Dornburg Aural architecture refers to the properties of space that can be experienced by listening. These properties are volume (or form) and material, and they help an individual in perceiving an aural space. By viewing the form and size of a space, one may be able to speculate what kind of aural intensity it possesses. But the visual perception does not prepare us for the actual aural experience the space reveals. Some spaces may seem to be acoustically impotent, but may surprise us with astonishing sound properties. An individuals behavior in a space as well as their perception of the significance of the space are greatly influenced by the sonic quality that the spaces possesses (Mateo Zlatar, 2003). For instance, the acoustics of a governmental chamber strengthens the importance of the speeches held within the space. The amount of sound a material will absorb or reflect depends on it properties. Not only do materials evoke different feelings, but they can be combined and manipulated in di fferent

Media studies †Life on Mars Essay

How does life on mars (2006) use visual codes, technical, audio and narrative codes to create a sense of excitement and encourage the audience to watch. In this first episode of Life on Mars there are many different codes and conventions used to make this series instantly appealing to the audience. The episode is excellently paced and smartly directed, getting us into 1973 within 10 minutes and introducing new characters effortlessly. Sequence 1 of life on mars gets the audience instantly familiar with the genre, the episode begins with a police car chasing down a suspect which quickly shows us this is a hybrid police crime drama. The diegetic sounds of police sirens and dogs along with the non diegetic music, a heartbeat which is corresponding with Sam the detective in the police car creating suspense as we get a feel for how Sam is feeling as the heartbeat signifies his nerves also introducing the audience to protagonist Sam Tyler, these audio codes add up to create an exciting police chase which again expresses the genre of ‘Life on Mars’. Once out of the car Sam is forced to chase his primary suspect down an ally way in a council estate in the city giving the audience a feel for the setting. The music isn’t as dramatic while the chase is happening but speeds up during more dramatic parts of the chase which creates suspense. Cinema-verte is used when filming the chase which makes the audience feel almost part of the chase, this entertaining filming technique and creative use of music makes Life on Mars exciting to the audience creating enigma and encouraging them to watch on. This chase takes us up to Colin Raimes arrest bringing us to sequence 2. In sequence 2 Sam’s colleague and girlfriend, Maya, are interviewing suspect Colin Raimes. Sam and Maya facing Colin and his lawyers, which creates tension between these two sets of people. During the interview there is a close up of Colin Raimes which engages the audience creating tension and increasing the viewers curiosity as to what this suspect has done and makes them wonder has he done it or not? The diegetic recording sound in the background shows the viewers the interview is being recorded and shows the viewers the seriousness of the situation, the room is dark with little light which creates a professional mood, the dark setting is a technique used to scare the suspect in to talking, perfect for the situation. The narrative codes in this sequence reveal allot about Colin Raimes as he gets upset by the images he is being shown, we learn Colin sees a psychiatrist and his lawyers talk about how kids would throw fireworks at him on his estate. This is evidence to show that Colin is vulnerable and is possibly mad, the audience may take pity on him or take a different view on the suspect, this makes the viewers curious and increases their want to watch on. After the interview in sequence 3, Maya isn’t done with the suspect and decides to follow him on her own, only to be kidnapped. Once Maya is kidnapped Sam becomes sad and heads out looking for her, there is a close up of Sams face and he is distressed with tears running from his eyes. This visual codes will make the audience feel sympathetic towards Sam and shows us perhaps he is feeling stronger than just friendship for Maya. Sams nerves eventually get the better of him when he has to stop the car to refresh himself, standing there half-heartedly he says into himself,’ The world is a scary place’ again this shows the audience he is thinking about Maya and wants to find her increasing their sympathy for him and overall making the viewers want to continue to watch to see the conclusion. The different audio codes used express Sams feeling for Maya as the non diegetic music plays softly whilst he cries and thinks about her, this corresponds with the visual codes creating a sympathetic feel for the protagonist making the audience pity him. Sam is unexpectedly struck by a speeding vehicle which brings me to sequence four. Sam is struck very unexpectedly and this may have came as a shock to the audience, the accident is very unexpected and this is done deliberately to shock the audience as this scene is key to the viewers as it is where the storyline unfolds as after this it is based in 1973, where Sam time travels back in time. The diegetic sounds used are very impacting, when the car hits Sam, initially there is a loud sound to signify he has been hit, after this all that can be heard is silence which corresponds with how the audience will feel, as they will be shocked at what has just happened. This creates enigma and increases the viewers curiosity to keep watching and they are now introduced to how Life on Mars is going to take place. (back in time) will Sam be okay? what will happen next? are few of the questions the audience will be asking making them exciting and encouraging them to keep watching. Once Sam is hit and the audience are aware of what happened there is a close up of him laying vulnerably on the ground, this close up shot shows his eyes, wide open but yet not moving, with only police sirens and a heartbeat which is corresponding with Sams as he lays on the tarmac, creating tension and making the audience question if he is even alive. This close up then changes to a high shot as the camera slowly moves up, looking down on Sam which shows how empty the road is, no traffic just him. This suggests a change in time and expresses to the audience what has happened introducing them to 1973. These visual and technical codes all raise the audiences awareness causing them to ask questions and want to know the conclusion. Sequence five is the most important as, Sam wakes up to find himself in 1973, complete with 1970s era clothing and an 8-track playing â€Å"Life on Mars† in a car. Dazed and confused, Sam wanders back to the police precinct he works at, only to find it filled with cigarette-smoking, gum-chewing strangers he’s never seen before. The music is significant as before the crash David Bowies 1970’s song â€Å"Life on Mars† was playing on Sams ipod in the car. This is strange as he has travelled back in time to when this song was just out and extremely popular. Sams feeling are conveyed in different ways, with voices in his head from when he was a boy repeating,’ where are you?’ as he wakes up in a forest, obviously not where he was before. Creating enigma for the audience and making them aware of the time change increasing their excitement and want to continue watching. When Sam stands up in 1973, with no clue as to where he is the camera is low angled and is circling him while â€Å"Life on Mars† plays which really creates a confusing atmosphere showing that Sam does not know what is going on. This technical camera work helps to express Sams feelings and shows the audience a broader understanding of what’s going on. Everything has changed in Sams world, The set designs and costumes effectively evoke the era, as well as the grittiness of the run-down neighbourhood and police precinct. Everything feels straight out of the 70s, from the clothing to the cars to the horridly ugly decorating in Sam’s apartment. Throughout the episode, Sam hears hospital noises and doctor voices and at one point sees a person on late night TV talking like a doctor describing Sam being in a coma. Sam becomes increasingly convinced that he truly is in a coma, and that none of this world is real. he believes it is all part of his imagination. These are some of the ways in which Sam portrays his feelings to the audience during this sequence. Which allows the audience to get to know Sam and begin to have a feel for his character encouraging them to continue to watch Life on Mars. Later Sam meets a young police officer named Annie Cartwright who he begins to open up to and express his opinion and at one point tells her â€Å"I had an accident and when I woke up, I was here. Only here is 33 years in the past. Now, that either makes me a time-traveller, a lunatic, or I’m lying in a hospital bed in 2006 and none of this is real.† This quotation of what he says gives the audience insight into how he feels about the whole situation, this again allows the audience to engage with Sam and feel what he is going through, the audience will grow a certain like for Sam and this creates a sense of excitement and encourages the audience to continue to watch â€Å"Life on Mars†.

The title of the painting: Adoration of the Shepherds

The work is about the joyous celebration of the shepherds upon seeing Jesus, the hailed messiah. It was finished in 1672 by the Italian painter Baciccio. Italians are famous for their passion for painting, and for living their art.This painting of his is approximately 10 11/16 x 8 3/8 inches in size. It is drawn using pen and brown ink, black chalk, washed with brown, and with white bodycolor. (www.getty.edu)Baciccio, whose real name is Giovanni Battista Gaulli and is also called Il Baciccio and Baciccia, was born in Genoa, Italy on the 8th of May 1639. After his parents died of a plague, he became an apprentice of Luciano Borzone and Gianlorenzo Bernini, two renowned painters of his time.Baciccio also saw Correggio’s works, which influenced his illusionism and the gentleness of his pictures. He afterwards became very known for his vault wall painting in the Gesu church of Rome. (wikipedia.com)The Adoration of the Shepherds can be considered a relief sculpture because it bears and combines essential symbols, and it depends on its surface. Here, Baciccio made very much use of the power of lighting and shadowing effects. In the drawing, the only source of light is exuding from the baby, illuminating the faces of the crowd around him and casting dark shadows of the shepherds.This technique of creating pictures wherein light pierces darkness is dubbed as the Art of Nocturnal Light. In this art, the source of the light is something divine, artificial, natural, or has held figurative relations beyond its common role. The nocturnal light – which can be candlelight to add intimacy, fire to symbolize power, or moonlight for landscapes – is intended to enhance the drama of the spiritual sight. (www.getty.edu)Baciccio also used free lines to give the picture a vibrant look, and to exalt the religious subject matter. It attracts viewers to witness the story of the appearance of angels to the shepherds to proclamation the good news of Christ’s bi rth to them, and the shepherds’ journey to Bethlehem to see the infant lying in a manger. (Luke 2:8-20, NKJV) In the scene, the shepherds look at Jesus at his birthplace in Bethlehem.The birthplace is often in the form of a barn or manger. The angels are praising and saying, â€Å"Glory to God in the highest, and on earth, goodwill to men!† This speech became the first lines of the Gloria, the doxology that is traditionally sang in Christian masses.I would not prefer to include this work in my personal collection. The arrangement of the elements is somewhat in a mess. Looking at it, I did not know where to look at first. Some may have also experienced the same difficulty. Hence, peace and comfort is not extended to the viewer, and the viewer is not drawn into the picture.Moreover, the scene is supposed to be joyous, but the picture depicts not one indicator of delight. Its lack of appeal and colorfulness does not invite spectators. One might see it, look at it shortly, and then continue on walking. Because of its monochrome, it might not even be noticed. If I were to put a work in my personal collection, I prefer something catchy, or colorful enough so as to be catchy.

Essay about Cyber Bullying - 1682 Words

Sending a text through a mobile phone or sending an email through the internet used to be a harmless way to communicate with friends and family when weekends became clogged with assignments and work. As technology advanced so did bullying. Bullies began to send threatening text messages, send harassing emails, and use the likes of social networking sites to torment, humiliate, embarrass or target other students. Cyber bullying uses e-technology as a means of victimising others by e-mail, chat room discussion groups, instant messaging, webpages or SMS (text messaging) ,with the intention of harming another person (Cyber Safety Glossary ,16 Jun, 2010). â€Å"There’s no safe place anymore. You can be bullied 24/7...even in the privacy of your own†¦show more content†¦The surveys conducted by Health Education Students show many Year 9’s use behaviours which Health Education Students determined to be associated with popularity. These behaviours include using offen sive language, uploading suggestive photos of themselves, and uploading inappropriate photos of others. The second was for students to follow their peers. Grace Miller (2011) whilst in a class discussion stated she believed all students just wanted to fit in, thus they followed their peers to make friends. Behaviours found of the Year 9’s believed to support this were defending their friend if they were being bullied (found in the pre survey, but not in the post) which according to the Health education survey, 67% of students would do. Spreading rumours online was another behaviour believed to be linked. They third hypothesised reason for the stakeholders to cyber bully, was the possibility they have been bullied. Many reported harassment and threating messages, and as cyber bullying can be anonymous, targeting others over the internet can help make them feel ‘strong’. Socio-cultural factors can influence cyber bullying in many ways. Ken Rigby (2004) believes one reason for male stakeholders to bully is because boys ‘construct’ masculinity about themselves, thus are commonly aggressive against others. James Cook University (2010) also proposes bullying occurs to enhance self-concept. Well balanced people gain this through their achievements, friends andShow MoreRelatedBullying And The Cyber Bullying Essay1010 Words   |  5 PagesIDENTIFICATION PROBLEM STATEMENT BACKGROUND Cyber bullying refers to something when one uses their cell phone, computers or an electronic device to access internet and technology for the purpose of harassment and providing harms to others. Sending inappropriate messages, uploading disturbing images, threatening and posting something without someone’s’ approval are the forms of cyber bullying. 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Traditional bullying was done on school grounds, at the bus stop, or walking home, but today cyber bullies leave teens vulnerable to the abuse with no place to seek refuge. â€Å"Its a non-stop type of harassmentRead MoreThe Issues Of Cyber Bullying946 Words   |  4 Pages Coastal Carolina University The Issues of Cyber-bullying Alyssa Staub CSCI 101 – D1 Professor Matthews October 23, 2017 â€Æ' Cyber bullying has been a topic for scholarly inquiry, political debate, and policy reform since the commercialization of the Internet. Pre-internet bullying involved socially marginalized children and teenagers picking on their friends and other marginalized children at school. Traditional discipline included detentions, phone calls to their parentsRead More Bullying Evolution: Cyber-bullying Essay1869 Words   |  8 Pagestheirs, constantly picking on them and sometimes even inflicting physical abuse. Well I hate to break it to you but this individual is back and is more equipped than before, preying on the weak and vulnerable in the cyber world (internet). Most recently, it took a crime wave of â€Å"cyber bullying† before our media and leaders in the Untied States gave it attention; now that the American people realize that the â€Å"classroom bully† has evolved into a more dangerously clever and sinister inflictor of emotionalRead MoreBullying Vs Cyber Bullying E ssay2021 Words   |  9 PagesBullying is a major problem that impacts many teens over generations, causing an endless cycle of bullying. With the new age of technology, this leads to new issues that are affecting teens’ lives. One of these issues is that cyberbullying is quickly becoming more common than the traditional playground bullying, as more social media are appealing to teens. Cyberbullying is a type of bullying that happens using electronic devices such as phones, laptops, and tablets. This form of bullying includes