Sound can be a by-product and clue for a design’s reverberative inefficiency. These usually unpleasant and unwanted sounds are historically also used as a sonic propaganda tactic to trigger fear and anxiety.
Today, it is common in the marketing field to manipulate a spectrum of emotions towards a consumption goal by keeping the audience entertained and alert, for example, in the field of cinema with the production of horror and action films. Attention is a resource in this economy,
but it also creates a space for the learning and training of how our senses respond to our environment, predominantly through vision and sound.
From the sound effects in Suspiria by Dario Argento to the acoustic designing of earthquake alarms in Japan, our psychoacoustic development can be profoundly affected by our sonically design environment; it has made us more likely to notice and translate sounds that evoke fear, provoking our flight and fight mode more frequently.
The cartography of danger from Mike Davis, 1998
Stutka siren
Bring me back to the Collective DeepMind
Sound can be a by-product and clue for a design’s reverberative inefficiency. These usually unpleasant and unwanted sounds are historically also used as a sonic propaganda tactic to trigger fear and anxiety.
Today, it is common in the marketing field to manipulate a spectrum of emotions towards a consumption goal by keeping the audience entertained and alert, for example, in the field of cinema with the production of horror and action films. Attention is a resource in this economy,
but it also creates a space for the learning and training of how our senses respond to our environment, predominantly through vision and sound.
From the sound effects in Suspiria by Dario Argento to the acoustic designing of earthquake alarms in Japan, our psychoacoustic development can be profoundly affected by our sonically design environment; it has made us more likely to notice and translate sounds that evoke fear, provoking our flight and fight mode more frequently.