The first is geophony – the non-biological sounds that occur, wind in the trees, water in the streams. These were the first sounds on Earth but there needed to be something to hear them. So that gives us the biological component; the biophony. And biophony is the collective sound that is made by all the species in a given habitat. And the third is anthrophony or human generated sound which I divided into two subsets, the first being controlled sound like music, language or theatre, and the second is incoherent or chaotic sound which we typically refer to as noise. One of my colleagues has termed that technophony. I encourage people to come up with their own terms for all this stuff.
One of the key points I’m trying to demonstrate with the exhibit is the concept of structured natural sound. The acoustic niche hypothesis posits that all of the biophonies in a healthy habitat have evolved in ways that the channels of bandwith of transmission and reception are reserved for and occupied by individual species.
To map the acoustics of ancient spaces, to understand how a church was designed to reverberate at certain frequencies