Example of sound design critical thinking

The selected audio elements, sounds of steps, elevator, coffee and shower, can be used as a vague reference, instead of exact languages to construct a composition. These sounds can be used to communicate no emotions or ideas in composition. In this case, repeated hearing of a single sound can be used by the audience to stop going to to its cause and more accurately to notice its characteristic trait. By imagining physical casual explanations for these sounds, one is able to re-unite the disembodied sound with an objective physicality that created (Bull, p. 167). For example, the sound of shower can be related to various physical activities such as some one preparing to take shower.
According to the philosophy, the knowledge is embodied, “ mediated” by our senses and established by what we hear, touch, see, smell, and taste. Therefore, a sound can be turned into a composition by using hearing and listening to mediate cultural practices and create a notion of what is to remember or to experience (Bridgett, p. 98). For instance, the steps and elevator can depict the experience of, mobility. The sounds can establish an objective aural image where an audience can develop a distinct interpretation about the sounds.
The different types of sound events can be used to develop the competence reflexively to control the use of different types of listening. The competence therefore generates active goals for the composition of more relevant sound environment. Competence to listen to the sounds should be developed with an aim to explain and change the position of the composed music in the soundscape. The selected sound results to different experiences that call for different modes of listening. As a result these different modes of listening could result to different musical experience (Cox, Christoph, & Warner, p. 92).

Works Cited

Bridgett, Rob. From the Shadows of Film Sound: Cinematic Production & Creative Porcess in Video Game Audio : Collected Publications 2000-2010. Vancouver?: R. Bridgett, 2010. Print.
Bull, Michael, and Les Back. The Auditory Culture Reader. Oxford, UK: Berg, 2003. Print.
Cox, Christoph, and Daniel Warner. Audio Culture: Readings in Modern Music. New York: Continuum, 2004. Print.