THE SOUND AND SMELL OF THE LANDSCAPE
Landscapes are often associated with sounds and
sometimes smell
- Towns have a lot of human made sound and
smells
- The rural country side might have other sounds
and smells
- Interviewing people about their emotions they
often tell that smell and sounds can trigger off
reactions
- Often smell, sound and visual experiences are
combined – sometimes to the extent that it is
hard to separate
In horticulture therapy the combination of smell,
sounds and visual experiences are often combined.
Results are hard to measure , but seem to be
promising
ANTHROPOLOGICAL EXAMPLES
SONGHAY (NIGER) GOURD – DRUM AND
MONOCHORD VIOLIN
VISION CREATES DISTANCE
SOUND CREATES COMMUNICATION AND
PARTICIPATION
SOUND EXISTENCE OF ITS OWN SEPARATE FROM
ANIMALS, PLANTS AND HUMANS
SUYA (MATO GROSSO- BRASIL)
SONG AND SPEECH ON CONTINUM
THE WORD THAT COVERS LANGUAGE ALSO COVERS
UNDERSTANDING AND HEARING
VISIONS ARE LODGED IN THE EAR
DISTRUST PEOPLE WITH VISIONS
UMEDA (PAPUA NEW GUINEA)
HEARING AND SMELL
MOVEMENT - BODY RESONATES
ECHOES
BRING THE WORLD INTO BEING AROUND
THEMSELVES
HEARING CREATES AUDITORY CULTURE OF SYMPATHY
WE CAN TRAIN HEARING, TASTE AND SEEING
- MUSICIANS WILL HEAR WHAT MANY PEOPLE DO
NOT HEAR
- A COOK CAN TASTE NUANCES/ DEDECT
INGRIDIENTS ETC BETTER THAN MANY OF HIS
CUSTOMERS
- HUNTERS MIGHT SEE AND HEAR WHAT OTHERS
DO NOT
STOP, LOOK, LISTEN
(THE SIGN ON RAIL ROAD CROSSINGS
WITHOUT SIGNALLING ARRANGMENTS)
PERCEPTION OF THE WORLD IS OBVIOUSLY
OF CRUCIAL IMPORTANCE IN ORDER TO
UNDERSTAND THE WORLD
- CONNECTING SOUND TO SEEING
- INTERRUPT ONE BODILY ACTIVITY –
WALKING- AND INTIATE ANOTHER OF
LOOKING AND LISTENING
VISION OBJECTIFIES
SOUND PERSONIFIES
The quietness, the equanimity, the trust, one might
say the piety, so often found in the blind are in
strange contrast to the irritability and suspicion
encountered in so many of the deaf.
Zuckerkandel, Victor (1958) Sound and Symbol, page 3
SUCH STEROTYPICAL IMPRESSIONS OF DEAF AND
BLIND ARE OF COURSE GROSSLY MISLEADING. STILL IT
ILLUSTRATE THE IMPORTANCE Zuckerkandel PUT ON
THE SENSORY EXPERIENCE
LANGUAGE THE INTERFACE BETWEEN THOUGHT AND
SOUND
Saussure, F. (1959)General Linguistics, page 23
THE ONLY TRUE BOND IS THE BOND OF SOUND
Saussure, F. (1959)General Linguistics, page 25
SOUND AS REGISTRED IN THE PSYCHE AS A SOUND
IMAGE
Saussure, F. (1959)General Linguistics, page 66
- SIGHT ISOLATES, SOUND INCORPORATES
- SIGHT SITUATES THE OBSERVER OUTSIDE OF
WHAT HE VIEWS
- SOUND FROM EVERY DIRECTION AT ONCE
- SOUND CORE OF SENSATION AND EXISTENCE
- YOU CAN IMMERSE YOURSELF IN SOUND
- IT IS NO WAY TO IMMERSE YOURSELF IN SIGHT
Ong, W. (1982)Orality and literacy, page 72
THE WORLD OF THE INUIT IS DEFINED ABOVE ALL BY
SOUND RATHER THAN SIGHT
Carpenter,E. (1966) Image making in arctic art, page
33
Carpenter,E. (1973) Eskimo Realities)
Carpenter,E. (1960)Acustic Space
NO SEPARATION BETWEEN SONG AND TALK
In the view of Carpenter Inuit hear sound rather than
things and are moved by the sound itself. Thus the
difference between song and speech makes no sense.
All actions,for example speech, hunting,carving and
singing, release aspects of the person into the
acoustic space surrounding the person.
Acoustic space is dynamic extending outwards from
the person in all directions. Such as space has no
boundaries, does not pre-exist and enclose both
listener and the one making the sound (Carpenter and
McLuhan, 1960). In fact it might even be said that the
distinction between the person and the sound is
meaningless.
THE MEANING OF LIGHT / SHADOWS AND CHANGES
OF LIGHT – FORESTS AND TREES GIVE UNIQUE
EXPERIENCE BOTH OF MOVEMENT, SOUND AND
LIGHT
PRACTICE OF SEEING, HEARING IS A ACTUAL PRACTICE
AND CAN HARDLY BE SEPARATED AND PART OF
THOUGHT (COGNITIVE PROCESSES) AND IDENTITY
STILL, THOSE THAT HAVE IMPAIRED HEARING OR NO
SIGHT, WILL HAVE SENSES WHICH ARE HEARING LIKE
OR SEEING LIKE
Eero Järnefelt (1863 – 1937)
Pond Water Crowfoot
Atenum Art Museum, Helsinki
Arthur Dove
Morning Sun (1935)
The Philips Collection, Washington
Akseli Gallen-Kallela (1865 – 1931)
The Great Black Woodpecker (1892 – 1894)
Private Collection
Harald Sohlberg (1869 -1935)
Flower Meadow in the North (1905)
The National Museum of Art, Architecture and Design,
Oslo
Pekka Halonen (1865 – 1933)
Winter Landscape (1907)
Hämeenlinna Art Museum, Finland
Pekka Halonen (1865 – 1933)
Washing on the ice (1900)
Atenum Art Gallery, Helsinki
Anders Zorn (1860 – 1920)
Girls bathing in the open air (1890)
Atenum Art Museum Helsinki
Harald Slott-Møller (1864 – 1937)
Danish landscape (1891)
Private collection deposited with Statens Museum for
Kunst, Copenhagen
Hugo Simberg (1873 -1917)
Spring evening, when the ice is melting (1897)
Ateneum Art Museum, Helsinki
Harald Sohlberg (1869 -1935)
Night Glow
The National Museum of Art, Architecture and Design,
Oslo
Harald Sohlberg (1869 - 1935)
Winter Night in the Mountains (1911)
Private Collection
Prince Eugen (1865 – 1947)
Calm Water (1901)
The National Museum, Stockholm
Thórarinn B. Thorláksson (1867 – 1924)
Mountain Stóri Dimon (1902)
National Gallery of Iceland, Reykjavik
Victor Westerholm (1860 -1919) Finnish Vallinkoski Rapids 1913
Atenum Art Museum Helsinki
Finnish Vallinkoski Rapids (1914)
Victor Westerholm (1860 – 1919)
Atenum Art Museum, Helsinki