Have a look at http://www.guardian.co.uk/lifeandstyle/2008/dec/20/ipod-instinct
Extract:
"Instinct acts as a kind of behavioural satnav. It's a quiet and reassuring inner voice that will always give you guidance, provided you can be bothered to tune into it. However, humans are always suspicious of inner voices, especially if there's more than one of them.
Instinct is the accumulated wisdom of a thousand generations of human beings hard-wired into our little heads. Sadly, this is then very quickly obscured by the formal process of education. Instinct is a mixture of the common sense that tells you when something supposedly good is actually a load of cobblers, and also of the uncommon sense that warns you of things that normally come without warning.
Seeing things with your own eyes is generally held to be a good way of verifying things. But eyes are screens, and like any screen they don't tell the whole story. Getting a feel for things is much more effective because it lets your sixth sense have a sniff around. As a French philosopher once said, instinct is the nose of the mind. It sounds slightly odd, but instinctively you know it's right. "
By Guy Browning
The Guardian, Saturday 20 December 2008
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2 comments:
I like what the whole article is suggesting about silence as the space in which instinct prevails (and can be 'heard'!)
I'd been thinking that i'd like to include silence/sound as an area of research in the tech prototyping, and this confirms that it would be a good research question. In the same way that the 'Something More' mediascape presents the visual at the end of the walk so that one's own visual experience is dominant during the walk, I'd like to try the Sightlines audio both within movement, and at the end of movement.
Without silence, sound has no impact.
Musicians place sound in the spaces - with intent.
(Would having sound at the end make the process more of a dance?)
I think Guy Browning is commenting on the noisy world we inhabit ... maybe he travels on the tube a lot, or something - everyone with their ipods all stuck in inner worlds.
If we think of the project in terms of mapping, (which in educational terms is perhaps a primary purpose) then the created significant journey can be accessed during - immediately after - or from the website later- an audio visual record. Which of these is the nearest to a creative response to the landscape? How does site specific music work best - as a memory, or a trigger, or a evocation?
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