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| @ Ryan: Hello Ryan,
| | alice (dot) dziewinski @ uni-weimar (dot) de |
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| i hope you got my email - i tried to reach you via the wiki contact form. If not, please try alice (dot) dziewinski @ uni-weimar (dot) de.
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| Please correct my collection of very general thoughts. It would be great to dicuss. My video is on the way.
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| regards, Alice
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| °°°
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| '''2. Transfer|ability'''
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| Sound is of great importance for our spatial orientation, frequently guiding us more subconsciously than sight does. Sonic gestures or objects can direct our attention in timespace; quasi-static structures can change the mood or atmosphere of spaces in specific ways and this way influence subjective experience, emotional judgment and behaviour.
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| Temporality of site-specific sounds points to a place`s processual qualities. Meaning (e.g. of the word "Weimar") is static, but sound reveals a place`s dynamics. A location is not there, but i am, the permanently self-constructig subject.
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| By changing the sound of a scene or object individual interpretations and connotiations of things can be changed. Representative sounds transfered into new spaces can break and even permanently modify perceptual habits. Transfered into social spheres they can remind of or point to historical or social contexts, which might not be obvious in everyday life.
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| Listenting to playful, purposeless combinations of sounds from different spheres mingled with sounds of a familiar sphere may cause a shift in perception to an aesthetic mode, stimulate creation of new meanings in contrast to habitual pragmatic acting within functional, static architectures.
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| Perception of time is best possible in an extroverted, defocussed state of mind, where memory and imagination, life experience and expectations overlap. De- and recontextualized sounds located in well-known environments attract attention and thus make one aware of the multilayerd, ambiguous now.
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