Interruption

Escalation

Frightful

Relieve

In my project I transferred my feelings and associations towards this sound into the rhythm I was feeling when I listened to the sound. In the video with the fingers I divided the sound in to two parameters. The first one is the volume, which can be understood from the speed of the moving fingers. The second one is the distance between the listener and the sound source. As the distance minimized, the fingers mass capture more space of the frame.

From this representation I decided to divide the sound into 5 different intervals, according to the feelings that the sound evoked: calmness at the beginning, interruption when the horn is heard, escalation when the train is near, frightful when it passes by and eventually the relieve you feel when the trains is faraway. Each stage represented by even frames and only the mass is changing in the frame. The relationship between the frame and the fingers size (=mass) demonstrate the sound interpretation.

On the given site-”The Diamond Bridge”, I tried to find the same characteristics as I found in the video. I discovered that there is a connection between the tunnel, people motion in it and the arriving of the train. They all connected, when there is no train in the station, there is a lack of movement in the tunnel. When the train is in the station, approaching or just departing, the movement of people in the tunnel gets higher. I documented the movement of people in the tunnel before, after and during the train presence in the station.

To compeer my video conclusions with the site mapping, I’m no longer refers to the train sound as the trigger, but to the train presence or absence in the station as the trigger of movement in the tunnel. The tunnel is the frame now, and the people’s motion in the tunnel is the mass. This conclusions let me think about the natural phenomenon of the “Tide and Flow”, meaning: when the tunnel is empty and there is no motion in it, this stage is equals to the “Tide”, when there is a lot of movement in the tunnel, the stage is equals to the “Flow”.  To demonstrate my conclusions and implicate them on the side I thought about a transparent sheet, that expanses and compresses according to people movements in the tunnel. The sheet is activated by people’s distance to it: when there is no movement the sheet is compressed on the floor of the tunnel, when a person is coming towards the tunnel, the sheet expenses and by that allows to get through the tunnel.

-Volume is the parameter I’m researching

-Schematic and 2 dimensions models of the space

-Wide sections of the tunnel (bridge) can help me better understanding all the motion and how it’s changing according to the sound.

-With the help of sound editing program I can get the image of the sound at every moment I see as necessary to my work.

-I was referred to read 2 texts: “How Music Moves: Musical Parameters and Listeners’ Images of Motion” by Zohar Eitan and Roni Y. Granot.
The second text: “Music from Motion: Sound Level Envelopes of Tones Expressing Human Locomotion”.

- from the chosen point, I should document the space: the transformation that is taking place, whenever people here/see the train, whether it’s coming or leaving the platform.  

- observation of people reaction, motions, speed and velocity. Understanding the different density of the space, and what triggers it. How the sound of the train, the announcer, or even both of them, influence spreading of people in the given space.

- which parameters are constant/changing and so on.

-producing digital simulation of human reaction to the phenomenon, that is mentioned above.

The fingers create the visualization of the sound. By filling the fingers image in black color, I can understand the space that appears during the time I’m listening to the sound.

If the whole canvas filled in black or most of it, than you can understand that the sound is very close to you and it’s volume is very high, and it’s opposite is a calm situation. 

When there is a change in the sound, for example the sound of the horn, can be translated into the changed image in the motion of fingers.

1) Tension that is build slowly, step by step. The idea came up from the sound of the train wheels at the beginning of the original sound. I tried to represent this tension by some materials-and the one that came to my mind was of a soft surface.

2) The second emotion was to “rebuild” the sound of the train horn by physical materials. (that appears in the middle of the sound). When you are listening to the whole sound, you might get the feeling that this horn is like an obstacle in the sound, it’s not belong there. There for I began thinking about something radical – like thorn and spines.

3) The third section was inspired by the high sound of the approaching train. The sound of the wheels was more intense then in the first section. It sounded rougher and aggressive.  

4) The final section begins when the train is passing you by. Because of the previous interpretations, one might feel a relive. The train passed by and there is no more real danger. The material that I choose to describe this was a clean and sleek sheet.