MultimediaProject

preparation of thesis

The project is to structure the search for interaction between sound and image.Using the mechanisms of sound pickup for instruments and classical music ensembles in the traditional system. Being allowed the opportunity to mechanization devices electroacoustic music. And with the capture visual assessment by recording mechanisms, and, or, video capture, animation, dismissing the subject as performative. Where the substances through the interdisciplinary material 'sound' and look ', if you seek a dialectic between the two dynamic kinesthetic. In rebuttal that follows, we try to give notice of the procedural framework used in audio and visual compositions, by exploiting the procedural concepts. And that may also explain the demand for cognitive and practical approach. That may illustrate how trends are linked searches kinesthetic, and so can build that identity, and the mode of articulation of different aspects. Refuting thus the demand for practical understanding of sound and visual of the object by the appreciation of the creative spectrum of the project. The type of argument, that the project can hold, concerns the following aspects. Relate to a demand for formal integrity, in which the basic structure of demand refers to the capture of interaction between sound and gestural movements semiotic your chance of facing a field of representation and its formal perception, incorporating aspects that refer to the elements of visual representation and their interrelations. It is capable of assignment by the perceptual qualities, we can predict, in a kinesthetic, or even allegorical and symbolic part of the interaction between a sound and a part stimulated by the elements of visual forms of representation. Thus, speaking of the creative process, my main concern when I started my quest was to create kinesthetic perceptions of susceptibility within a sound perception.Captivating the viewer through a perceptive and formal approach. I rediscovered this approach is that this dialectic can be established through the expressive elements. In this field of research, started a sync between types of formal approaches, between the auditory and visual fields. That led to a dynamic approach in which the outcome of the interaction between the field expressive sound and visual / plastic.From the standpoint of sound was put into analyzing the susceptibility of instrumental performance, where the perception of the visual aspects and plastics, resulting in the susceptibility of the sound elements present a significant area of feelings. That alone acoustic sets of impacts, reflecting types of environments, its likely spatiality, among others. How to translate the susceptibility of different luminosities in different tones sound. These sound elements will make a noticeable number of concepts that have to do with the acoustic qualities, performative, cognitive, perceptual, and that lead me now my outline guidelines for the composition of sound, and the subsequent implementation compositional vision. Associate some important concepts which see definitions of acoustics. These interpolations are such that one has to think in a work process that will approach from its sound characteristics. With its physical characteristics (duration, frequency, intensity) and psychological (height, loudness, timbre). In its plot that could have lead to even address other issues such as determining the types of processing sound signals, sound within the herd.

But now discuss some concepts that depart from the practice of sound exploration, and factors that are exponential in the study of acoustics, one of the concepts guiding this project. What specifically have to do with the consequences of the simultaneity of two sounds. View of the fact that considering the propagation of two equal sounds, which both produce shifts in the same direction at the same time.Having the sensation of hearing one sound at twice the intensity. Here, one can describe the occurrence of a reinforcement, in which one can say that the sounds are in phase. But if instead the sounds come in such a way that when one creates a displacement direction, the other causes an equal shift in the opposite direction, not perceiving sound. In this case one could speak of 'cancellation', where the sounds are in phase opposition. However, for example, if they arrive simultaneously heard two sounds of different frequencies as well, We distinguish them perfectly. But if the frequencies are very close (almost unison) seems the feeling produced a sound that varies periodically. It's the 'beat', which is a phenomenon that has to be two sounds of the same species, to be coincidence of phases. When there is phase coincidence of the amplitudes add up and the sound becomes more intense. When there is opposition of phase, the sound almost vanishes running low intensity. Succeeding in a period, and frequency, is seen as periodic phenomenon. Where its occurrence is much faster and are more distant frequencies. What at higher frequencies, the beat can not be distinguished, and the sensation produced is mixed up with the feeling of consonance and dissonance, depending on the relative frequency of sounds. What pitch of the strings in double and triple piano, heart favor the slow pitch. Hence, a well-tuned piano to our ear is necessarily any physical device to tune the frequency meter. But there is another phenomenon, which gives the name of 'Sons Arising', and that results from the interference of two sounds and is the hearing of a third distinct sound of the other two. It will be added to the resulting sound is often the sum frequency generation, and spread the resulting sound has frequency as the difference frequency generation. The resulting additional sounds are almost inaudible. As for sound differences, only work well with 'pure sounds'. But it also results in two tones of the same instrument. It is impossible with two different tones why it is very difficult to match instantaneous of 'phases'. Later will see how these phenomena can occur within the operating sound. You can also talk about other concepts that depart from sound practice of holding talk, for example, 'feeling high', 'absolute' and 'relative'. 'Absolute height' is when the ear has to identify a unique sound. One can speak of relative height when the ear has to relate a couple of sounds - successive (melody) or simultaneously (harmony). The sense of height can vary between factors such as intensity, texture, time perception, time of apprehension and timbre. Where the variation of 'intensity', makes musical sounds normal, which have a large space zone audible when the components vary in intensity and severe lower acute rise components, in which our auditory system, is a kind medium in which the deviations cancel out. When speaking of the influence of 'Tessitura' sensation in height, must be borne in mind that not all musical intervals can be defined by the degree of frequency. For the fixed-tune a particular sound, with all the rigors arithmetic, the instruments may seem out of tune in the opinion of the ear. And a good relationship is the sound with the ear of the receiver you want.

Speaking of influences 'perception of time' in the 'sense of time', we must bear in mind the differences between psychological time and real-time physical. Here, the sense of time is characterized by the frequency of vibrations, and the fact that it is linked to variation, time. But this phenomenon is linked to disturbances of cardiac rhythms of the receiver. This causes the receiver is excited, perceive that the time 'passes quickly. " Making a second call was a lapse of time shorter than a second physical reality. During his second psychological periods there was less vibration and notice the sound slightly lower. Conversely, if the receiver is boring, a second real, physical, it seems longer. Behaving more periods then realized the sound vibration and more acute. When speaking of the influence of 'time of apprehension' in the sense of time, which presents talking is the minimum time to capture the height of a sound. The experiments show that when a receiver is determined to hear fast passages with 10 to 15 notes per second, from there the definition of pitch becomes inaccurate and that the time perception varies from person to person, as his constant musical time of apprehension. When speaking of the influences of 'Tone' in the sense of time, to artificially suppress the harmonics bass or treble harmonics of a sound by means of acoustic filters. The timbre of the sound change course, but also varies the sensation of height. In this filtering opera houses of the sound can be produced by the scenarios and subjecting the material to the stage the musicians boring problems. What depends on whether and how the materials used on stage and in the scenarios, can act as filters to absorb the harmonics of the issuer. What usually follows this filtering is that these materials cause harmonic filter also bass and treble. This filtering can also be made by the ear of the receiver. And here cautioned that aging causes the gradual fading of a human ear in the perception of high frequencies. These concepts will be great to have an opinion about getting a sound thinking on the subject, and that the acoustic qualities of delineation, that this project has, could make their contribution in achieving the object kinesthetic. There are also concepts that result from a perceptual research, carried out not only through experience, but also result in a philosophical inquiry and kinesthetic. Following the guidelines of the elements of representation, and in another field of research on the design set to 'field, subject in the teaching and practice of design / project'. What was the title of a book written by 'Alberto Carneiro,' that I realized an affinity for the kind of thinking of the work process, while the spectrum of formal research demand. Where the design is said to be 'subject', who represents and is represented. And that stuck with the very organization of field conditions and their representation of the subject. And also where the structural components of the composition / perception of the field in real space and its virtual representation. And, in short that shows that the perception of the subject is associated with the representation. Perception that this structure once the fields of meaning to the images and the corresponding figures, determining the typological joints, category and expression of our sensory apprehension of the outside world, setting up our interpretation of reality. Where the digital measurements analogies raise an instrumental system that checks that are structured on the theoretical developments. And result of reflection that can incorporate specific instrumental. Which led to code systems, methods and models that are transferable and universally verifiable.Leading to an instrumental capacity of organization of procedure, and saving the drawing / design, which makes from his personal variables admit and elucidate the differences of

character and style. Where shall always prevail typological and morphological identity of the same, and where these issues are worked as instrumental concepts, which correspond to forms and uses to operate in functional and aesthetic enjoyment. The feeling that prevails after the understanding of these concepts is that, in the process of seeking formal integrity, which outlines a kind of symbiosis between two aspects of audio-visual areas. Can lead to, the creation of the creative process and the creation of sound and visual compositions, had to think as if you were talking about a design / project, and all the panoply of relations connected with these two concepts. But, speaking for the susceptibility of a dialectic between sound perception and approach made perceptive and formal visual field / plastic, could not stop talking about the rebuttal that this project took part. That has to do specifically with the practical approach likely sound with the visual elements of pictorial representation.In particular the characteristics of visual language, the law of the perception of form, implemented through the 'Psychology of Form. " This research leads me to encode other types of opening, in my interpretation of audible and visual object, and its psychic and cognitive multiplications. Which relate, of course, with the object represented, and that leads me to the following questions.Does that represent, in terms of sound is the sound? And performing the resulting representations, acoustics, etc., and their ability to represent? As the capacities of representation, as is an interaction which in this case is the perceptual and cognitive level. This refers to the understanding of other types of mediation, of a scientific level, in order to recode this kind of symbiotic, that what happens in real terms in the human. What I intend to speak here is a region in the brain called the hippocampus. The hippocampus is an important component of the brains of humans and other mammals. It belongs to the limbic system and plays an important role in the consolidation of information from short-term memory to long-term memory and spatial navigation. This system has been touted as one of the systems that are associated with learning and memory. But it is through synaptic plasticity that can activate the sensors in the brain, through your neurons. In neuroscience, synaptic plasticity is the ability of the connection between two neurons. Synaptic plasticity has an excitatory function, since memories are requested to be represented by very interconnected networks of connections in the brain. Synaptic plasticity is one of the most important neurochemical basis of learning and memory. Hence also able to draw further conclusions, which relate, in addition to its connection to learning and memory. They concern mainly because each receiver to connect specific info to the brain, have different ways of perceiving this information. And so it is stimulated differently to the object sound and vision, and also each of the receivers different ways of perceiving this. Perhaps not wanting to lose the vehemence of this relationship is that one can justify the fact that my creative process there is a link with the great demand for interaction between the sound object and sporadic visual approach to elements of visual representation / plastic. These latter points are only to retain, somehow, that what physically happens to our body. When a particular object kinesthetic, organic active mechanisms of the limbic system. So that, through memory, somehow, if it involves the intellectualization of sensory reception. However, do not explore any more content about this.

But the design information on these aspects of intellectual, could not stop talking about communication. On the one hand, visual communication happens through visual messages, so it is all that our eyes see. The visual language is a language, perhaps more limited than the verbal, but it is the most direct. In film, the images are carriers of message is not communicated verbally. The behavior of people, dress, order or disorder of an environment, materials, colors, etc.. Are other pictures that communicate visually. All these factors communicate feelings. On the other hand, the transmission of sound signals immeasurable to the brain.Only when these signals are received and interpreted by the brain endings that make sense is appropriate for the auditor sound - beauty, disgust, harmony, dissonance, weakness, violence, etc.. A sound can produce different emotions and physical reactions as the previous constraint of each individual. For this, the brain has a 'central auditory memory' that begins to accumulate information sound almost from birth. But the auditory sensation, here should be seen as a 'psychological phenomenon', and as a 'state of consciousness', in which there is no mechanism that can explain the experimental processing of a given physiological a psychological effect. Encouraging that in my research, as we can determine the mode of perception and perceptual representations of acoustic and visual representation of their abilities. And that may imply, as there is a recoding of a part of a sound from the visual / plastic. And as the sound and visual projection of a given object / physical phenomenon becomes a psychological phenomenon. In this simple phenomenological makes reconsideration seeking to recode the sound propagation in their susceptibility to reconsider, as well as visual phenomenon / plastic, by capturing its dynamic sense of dissemination. This quest for susceptibility will become increasingly vanishingly present mode of organization of sound projections. These projections sound that revalidation as part of an organization of its propagation, which encodes its kinesthetic phenomenology.Revalidating themselves as part of the projections sound of a visual object. But this will lead to having to recode sound into the language, other concepts. What is the 'silence'. First, 'silence' is characterized by the absence of 'sound'. And another concept that, in adequirio concepts that complement the visual projection, and which then may become very important in the consolidation of all aspects. In particular the positions of the concepts of 'non-place', and place. The 'non-place' that is seen by the proposal of the French anthropologist Marc Aug, to designate a space for passing unable to form any kind of identity is seen as a non-historical space, and nonrelational. While the concept of 'place as an area overlap of identity, relational, historical. Marc Aug, characterizes the 'non-place', which despite receiving settlements of travelers and walkers, is a place of passage. In the individuals on the move, traveling from anyone in these spaces, where the inhabitants in these places, identities are not free. This definition is a definition cruelly crippling, but later will lose yourself, why the mention. But for that already should have in mind the definition of 'music'. Music is known as 'the art of combining sounds', and 'sound' is designated by 'auditory sensation produced by mechanical vibrations.' And, knowing beforehand that this art to be successful, you need a 'sender', a 'channel', a 'message' and a 'receiver'. But bearing in mind that the concept of 'image' means a visual representation of an object. And that corresponds to the concept of Greek etymology, 'eidos' (idea).Overlapping studies made by the

idealism of Plato, which considers the 'idea' of a thing, his image as a projection of mind. Idealism is a current, considering the theory of Plato as the first search of idealist thought. And that brings out a thought that is the true reality in the world of ideas, intelligible forms, accessible to reason. In contrast to these thoughts, it appears that Aristotle considers the image as an acquisition of the senses, the mental representation of an object / real object, founding the theory of Realism. A movement which then has to establish in the century. XX, where its main features are the truth, the contemporary, the true picture, the love for detail, the materialism of love, the denunciation of social injustices, the determinism of causation, the language closer to reality. The concept of 'image', is one of the concepts that can hold more attention. Not only because of the preparation of studies on idealism. But also because the refutation made after consideration of the assumption of cognitivism, the ideological connotation of the image had embraced. This kind of considerations, in my project, and work process, will make it possible to interconnect with kinesthetic understanding of the material sound, and visual. In the conceptions that my work is embedded, one can speak of a demand made by studying the theories of 'transcendental idealism'. But if they want to go specifically to the origin of things. After reading 'The Critical Philosophy of Kant', Gilles Deleuze, with the following aspects. In the simplest framework in terms of recognition, is the following: 'Intuition' (single representation referred immediately to an object of experience which has its source in sensitivity), a concept (representation referred immediately to a subject of experience, through other representations and has its source in understanding), and the idea (a concept that overcomes the possibility and also has its source in reason. Or we note the following quote: '... the phenomenon appears in space and time: space and time are forms for us the appearance of all possible pure forms of our intuition or our sensitivity. As such, they are in turn presentations: in this case shows a priori. Whatpresents itself as not only the empirical phenomenal diversity in space and time, but the diversity of the pure a priori space and time itself. The pure intuition (space and time) is precisely the only thing that shows the sensitivity priori ... 'op. Cit. Pag. 16. Or else' ... we do not need to define knowledge as a synthesis of representations. It is the very re-presentation which is defined as knowledge, that is, as the synthesis of the presents ... ',' intuitive sensitivity ... as the right to receive and, secondly, the active faculties as sources of truthful representations ... '' ... we can assume other beings differently constituted, for example, a divine being whose understanding would be intuitive and produce the diverse. But then all his faculties in a unit would meet imminent. The idea of such a limit can be as inspiring our reason, but it expresses our reason nor their situation with regard to our other faculties ... 'op. Cit. Pag. 16. This genre of quotations serve to refute, in a way that they see some views of the seizure of a sound object, redeeming your bond philosophical. And that prevail in the aspects developed by the doctrine of Kant, in which the phenomena of objective reality, does not appear as 'things-in-itself', but as subjective representations constructed by the human faculties of cognition.Reinforcing the idea of subjectivity, and denote that there may be projections of the speech sound, that despite the brevity of denotative objectives, their understanding will depend on the mode of interpretation of the receiver. But if we consider the studies on the perception of the image, there are other thoughts that may, in a connotative, decipher the type of coverage, the kinesthetic projection of the object, is the implications of the visual field, is the implications the sound field. And here you can take the encoding of a part that has to do with the recodes the relationship between art and thought. Which highlights

the work of Rudolf Arnheim, who is recognized as one of the leading scholars of the 'Gestalt' in 'Art'. Putting the thought that 'all perception is also thinking, all reasoning is also intuitive, all observation is also invention. " That contradicts the prevailing opinion that the words and not images are the first ingredients of thought and that language precedes perception.Affirming that "the mechanism by which the senses understand the environment are identical to the operations described by the psychology of reasoning, 'and that' how scientific discoveries, artistic expression is a form of knowledge in which perception and thinking are indivisibly intertwined . A person who paints, writes, composes, dances, to say that, think with your senses ... "(Rudolf Arnheim, Visual Thinking, 1969). Where is reset within the visual spectrum of the object, a connection that can identify a possible paper, and another different way of thinking about the similarities, and displays the object language narratives kinesthetic. This kind of rhetoric leads to having to analyze other types of content that have to do with the analysis of the elements of communication. Figure I. scheme based on Jakobson When we speak of elements of communication, the sender is seen as the one issuing the message. The receiver is the one who receives the message. The message is the aspect that makes both people and objects convey messages that can be read by Denotation and Connotation. For Denotation refers to a characterization of a message type that does not allow other interpretations. Since the message understood by Connotation, allows various interpretations depending on your interpretation and context. Code is the element that has to be common to the sender and receiver. It is the key to communication. When the code is not interpreted the code does not exist. Zodiac is all around us (images, sounds, smells). The message is decoded from reading this sign. It is the element of a code that has the function of communicating.Then there are various types of signs, which have to realize to achieve a common language. Indexes are signs incomplete. Suggests something, but the receiver to decode the message, you must complete the index, using it to your experience. For Icons, means the visual forms that represent the real. For symbols, implies and means the meeting of two different readings: an immediate, common to any person, and a hidden, understood after initiation. It is the analogy between the signifier and the signified. What is the meaning established by convention: sometimes the result of a cumulative culture, sometimes it comes from a very recent practice. But to complete the reasoning has to refer the following. For Significant is defined as a form of the sign presented to us, through registration. For Meaning, means an idea or concept involving '... what I mean by ...'. For referent means the object or the thing itself. Allow yourself to use the expression that these are 'mirror reflections', which will constitute a series of concepts, which then, through a pragmatic sense culminated in their sound and visual projections. Projections that the spontaneity of their semantic relationships, are seized in a kinesthetic and perceptive. Where will provide a meeting that will be allowed in the reconstitution performative. Eventually establish its function, before the receiver, but also with the issuer. To the extent that, the main creator of the message, it is also spectator, in the way that is responsible for its construction procedure. It will analyze now how one can understand the phenomenology of sound and visual, within the philosophical field. Which brings us to reconsider how an event likely to belong to human actions, and movements are controlled. This simple phenomenon

leads to having to consider the real human actions. Well, all reflex movements in which the subject is merely reactive, where the body behaves as a kind of 'black box' that responds to stimuli, in opposition to all other acts involving change of mentality. All kinds of acts involving the man as an open system, active personality, praxis (obeying the rules), incompleteness, can be considered human action, 'actus humanity'. Where you need to identify the dimensions of human action, and three types of action do (poiein), where there is a technical product, and an activity centered on the object. Where expertise is part of human nature, where man has a technical dimension. Identifying which is the other act (prassein), which has to do with the activity centered on the subject where there is an act of conscience and moral action. And another way of acting that has to do with the include (theorein), where there is the act of thinking itself. This range of definitions coming from philosophy, will serve to classify the surveys of the demand for this project. And in this context is to focus on the foundations of my research, the fact that there is a narrative between getting an audible and visual object, and it shows to be an act of the intellect, in the narrative construction. But, speaking of 'silence', could not fail to mention the work of''4'33 "of John Cage. Ask what became one of the most controversial compositions of the twentieth century, but perhaps his best known work. The three movements are performed without a single note being played. The content of the composition is intended to be perceived as the sounds of the environment in which listeners hear while it is held, instead of just four minutes and 33 seconds of silence. Having said that, taking into account the nonindifference of all the trends I'm talking about here. Bearing in mind the dialectic between sound and gestural movements of visual representation elements and their inter-connections, I have assembled the ideal conditions to start,to elaborate on my findings. And speaking of 'sound' and 'silence', in my research, I think perhaps the 'sound' has to be understood as a physical phenomenon that leads to understanding of 'silence'. Will give now an example. Imagine that the world did not exist 'silence' and there was 'sound'. Possibly had been sold with cacophonous arrangements, and would not understand in terms of language / communicative absolutely nothing, the more likely it was just knowing the procedures for implementation, rather than intellectual procedures exist that allow the individual to understand and learn to lecture on any subject. But what if there were 'sound' and there was 'silence'. Probably had invented or stayed in other language codes, but were they richer than the infinity of the sound object. Probably not. But it should be noted that the 'image', should be understood as the best leverage for understanding the signs. Completion of this example, 'sound' and 'silence', and 'image' are components that have very strong and very distinct in language / communication. But these aspects, and by withholding information from the thoughts of a musical composition major reference of the twentieth century. In the book "Poetics of Music 'on Igor Stravinsky, and its use of rhythm. '... Is that the composer makes use of pausas_ sometimes a simple separation between chords, other breathing on the downbeat, immediately before the beginning of a sentence other rhetoric that even a pause in the progression tension builds to a climax ...'. But about his' Essay on the twelve-tone, 'it is said that' ... our century took an important step in releasing the pace of the "tyranny of the bar line", ie, the regularity of the sets of two or three units strong and weak accents, and where strong accents tended to coincide with the changes of harmony. Stravinsky often refuses the bar line, introducing an irregular rhythmic pattern after you have established a regular schedule and returning from time to time this regular rhythm

can keep one of the voices, contrasting with the irregular outline of another voice, or may combine two different rhythms ... '. With these overlapping'm not considering the possibility of running the risk of falling into imitation of these. But the type of relationships formed on the observation of these aspects, Seram-specification considered to take into consideration, in address forms. With the most of the considerations outlined in the implementation of this project, and the orientation of their designs. But this is also kind of perceptions that holds this project. And the second is the awareness of such players, and its implications that I think my project, a dialectic between sound object, and their subjective perception of visual elements and their interrelationships. Thinking about these three players makes you have to think also in their cognitive interpolations. In this quest, it will refute the research, a search made through the 'semiology', which is the science of communication. Also designated as the science of signs, is through gestures / icons / music / objects / etc., Which requires its base. Figure II. Outline of communication, according to Bruno Munari To communicate is to convey a message from a particular source to a recipient. Its function is to inform, educate, excite and entertain. His task consists in crossing some conditions to reach the receiver. The involvement of the environmental (noise, excessive lighting, among other interference) can distort or cancel the message code and if it does not, before the receiver can be considered as three filters: sensory, operational and cultural. Thus, the first refers to the conditions of the sensory receptor; operating the filter is related to the transmission medium of the message, this will be influenced by means of transmission of the message, this will be influenced by the means they use, and the cultural filter receptor, which refers to his intellectual formation. The sound and silence within semiology, are considered the main shapers of 'space' and 'time', which occupy. And that the seizure of the object visually, from the considerations of image, Seram factors that make the bridge between the fields of auditory and visual representation. Taking the introduction of another concept that is the 'sequence'. As in the visual projection framework we can speak of space and time, in proposing the consideration of the procedural work. Obtained by 'work in progress'. In your search to obtain sequence, this concept is one that leads to the modeling of sound, and, of silence, release the records of the 'cacophony', and may presage as a contribution to the achievement of 'language' / 'communication'. But when we talked about these points, we are talking about almost any other points that have nothing to do with the connection of the sound object with the subjectivity of the elements of visual representation. When we talk about the concept of 'sequence', we are already anticipating that the 'sound' and 'silence' belong to a logical modeling spatial and temporal. And that in terms of obtaining the views of the image and implied, which is performed using a 'narrative sequence. " This concept will be the one upon the qualities as a factor of synchronous imergncia forms, taking into account their ability to mutate, is in the exploration of sound, whether in visual exploration. Commit themselves to the concept of 'non-place', which will allow the concept, the story it is perceiving a speech between 'thesis',' antithesis', 'synthesis' (' thesis', 'antithesis', and 'synthesis'). And afford to have a beginning, middle and end, as the apologetics of the great classical works. This methodical in terms that do not mean it is a 'grid' that obstructs the processes of the final object. On the contrary, believe me say that this speech can be even closer to the fact that, with the encouragement of the creative process, whether the sound level is at the visual level, it may constitute a 'syntax' of a thing that can comeapproaching the concept of 'language'. But, before the narrative context made earlier, in order to refute some of the concepts in context, from the acoustic factors that have to do with the sound propagation, and of those who have questioned some thoughts on these.

In this case the thought had approached about the 'Consequences of the simultaneity of two sounds' for 'Enhanced' and, 'Cancellation', and the phenomena of 'beat' and 'combination tones'. And, are seen as two cases where it is possible to observe the compatibility / incompatibility between two or more sound frequencies. But, now lay back as two concepts that can be contextualized, as two important factors in furthering the sound object. Since the discourse constructed through the concepts of thesis, antithesis, and synthesis, is beset by a concept of 'limit'. What, according to the type of conceptions that discourse implies (between thesis, antithesis and synthesis), his dissertation will exists to make a comprehensive exploration of possibilities that the type, and approaches imply. The toning rapprochement between sound and image, in the circumstances in which also these kinds of concepts, which are taken into account in the construction noise may cause the joints between the two fields represent expand. The use of the aspects that set the affinity of speech, may also be subject to some references that are given in the sections of the book 'Visual Syntax of Language', which speaks of 'Anatomy of the visual message. " Where to set up three levels of expression, 'representational', where you can illustrate what we see and identified based on the environment and experience. The level 'abstract', in which there is concern about the quality of a kinesthetic visual fact reduced to its basic and elementary visual components, emphasizing the more direct means, emotional, and even the creation of primitive message. And the 'symbolic', where the vast universe of systems of coded symbols that man has created arbitrarily and which assigns meanings. The intuitive implementation of these codes, will make all these levels of retrieval of information are interconnected and, overlap, but that in its assessment will be possible to establish sufficient distinctions between them, so they can be analyzed both in terms of its qualities but also in terms of processes for capturing kinesthetic. These are nothing more than forms of right now pervade the use of formal content.What, then facilitated the discernment of these conceptions, and, Faramir that there is greater freedom for the synchronization of movements about the new concepts of synergy between sound and image. Why put all these types of trends, I think the understanding and production of sound and visual, and their features (profile function as 'channel' / 'vehicle' carrying a 'message') and their coding in the way reaches the receiver, will be apparent only if understood in this way. As a quality (production sound and visual), which through its stimuli, may lead to cognitive type of exposure. And the type of information that this production was perceived and learned. Leading to the 'sound', is understood as a way of understanding the 'silence' in 'space' and for 'time' that occupy a relationship between the 'sound' (in itself), or a relationship with a 'visual image'. Determining the correlation with the visual in order to resize it that this is also a 'channel' / 'vehicle' that encodes the understanding of the deconstruction of its elements. But to understand these see the example where demand now talk about the 'Psychology of Form. " And you can do with there one closer to the field of visual representation. That has to do with the consideration of an image 'gestalt', where there is an image that strictly, contains an uncertainty in the allocation of correspondence between form and background. Which leads to the perception and concentration in a given visual focus, encode the brain to perceive a certain way, and a particular fund. Perception is that the brain had not the look did not have the same kind of 'focus'. Image is used as a reference in the recodification of the trends of the object end. Will have its repercussions in getting the sound and visual projections. And that these projections will leave your character. In particular, the fact that the auditory and visual projections, there is uncertainty in the allocation of matches between 'form' and 'bottom', that which is given by treating the 'shape'. What makes this simple recoding that there is now a paper type that begins to appear, and which takes care about the treatment of visual and sound. Staying with the

perception that there is a stipulation of the roles that objects play. There is rather a type of relations between objects, just as they have in order to function as a whole in its relation to the field of representation. That everything will depend on how these objects represented, determine their relationships. These players have the same importance in the development of visual objects. And where the language of these, fails to safeguard the allocation of representative roles, but rather reinforces the type of interactions that are the objects represented.In 'Visual Syntax of Language', says that this theory of the image can '... getting to know the importance of visual patterns and discovering how the body perceives and organizes and coordinates the visual imput output visual ...,' and that '... all visual pattern is a dynamic quality that can be defined intellectual, emotional, or mechanically by size, direction, shape or distance. These stimuli are only static measurements, but the forces that trigger psycho-physical, such as those of any other stimuli, space and modify the order or disrupt the balance. Together they create the perception of a design of a room or something. The visual things are not simply something that is there by chance. They are visual events, total occurrences, actions that incorporate reaction to all ... 'op. Cit. Pag. 31. This kind of revelations about the dynamics of the forms, causes into consideration all these types of perceptual tendencies, who see the pursuit of obtaining the symbiosis between a sound object, and a visual object, are seen actively in practical considerations as if they were the result of a pragmatic acquisition of the object end. It also happens that, when speaking of the influence of these types of trends, and in its symbiotic relationship with the inter-relationship between the sound object and the subjectivity of visual representation of the elements / plastic. Defined as the primary concern of this project, in order to consolidate them in the practice of kinesthetic approaches. And to refute the approach to the search for an image representation of 'gestalt', outline now a kind of approach that can serve the kind of refutation that can exist with the sound object. What I speak of 'power' of a kind of composition in which there is the ability to gather a series of multiple devices in terms of composition, which will originate "a set of experiments that break with the directionality 'teleological'. I cite references compositional cognitive work 'Brian Ferneyhough.' In the vehemence of quality encoder, can stimulate the approaches of the visual projection. But that enable mobility and sound alternating between different sites, the receivers are wrapped in a texture, is now occupied by the alternation of different forms of figures, now they ask again in different gestures. Particularly where the horizon of possibilities opens for the observation of the notions of 'texture', 'figure' and 'gesture'. It stems is a process of disassembly, provides to the emanation of the potential figures. Games where the continuous variations and metamorphoses of gestures, shape the texture of the resulting degree of merging or dissipation of these same gestures. Compositional process in which the composer works through advances and retreats between contractions and expansions, which seeks mobility, and a perspective that links all components present in the compositional space in several ways simultaneously. What is your process retrofitted through parametric calculations and operations that created the gestures, and gestures that intuitively compounds Darama source deductions from the layers of musical parameters.Where the different gestures that can reconfigure themselves, overlapping, pause or resume the features figurative released. But who here can enhance the creation of perspectives that will link to the textural aspects, illustrations, and gesture, the works that have been achieved through the understanding of movements at different levels, which give the impression of a complex context of parametric combinations, andwhere safeguarding the relationship of the components that are related in various ways at the same time. The configuration of the interpolations made by the characterization of composition, not only serves to create the views of the sound object, but to reunite the link between the concept of image 'gestalt', and the visual object. May well depend on the type of

connotation of the receiver. Taking so from the thought by the recipient, to perceive and understand the different dynamics in the cognitive development of large surroundings. But what of the issuer's perspective, interpreted as part of 'songwriter', outlines the character object to be executed, the same surroundings are taken as the research denoting parts kinesthetic, who may be given the option of contextualization in different dynamics. The latter trend, makes the final object, there is a concern with the reconfiguration of the concepts inherent in this research kinesthetic, and that will make this demand pragmatizao is implied in a framework of 'limit'. On the concept of 'limit', Gilles Deleuze, French philosopher, says this in his interview 'the Alphabet by Gilles Deleuze', '... the style are those who believe in your language a foreign language in their own language, and lead to the whole language a kind of musical limit ... '. This saves all kinds of design that this project may be, confirming the fierce inter-relationships, where its depth, can they do with semantics there is ever more ways of approach to these relationships. But the expectation created, you need even more support this depth semantics. But Gilles Deleuze, says: '... In Art, both in painting as in music, it is not to reproduce or invent forms, but to capture forces ...'. But if any doubt exists on this relationship, these questions would go away. Just perceive the following relationship thoughts. After the creation of space for the demand for formal integrity requires, there is the definition of sensory perceptions that after their pairing denote their cognitive skills. Where through an ability to seizure by 'stimulus', one can learn through different types of memory, the conceptual content. That through their relations in a given context, it may be reflected in their narratives prolongations in different fields representative. What this project is identified as the fields of visual and audio representation. Refuting will be an example now, which justify the vehemence of the interactions, and that may be present in the conceptions that are based on the concept of 'balance'. Where, in terms of basic designations, if perceives the existence of an oscillatory motion, we can speak of a long correspondence between the 'strong' and time 'weak' in every bar. Where after its definition as guiding concept, one can draw conclusions about how this is and can be designed, may have its repercussions, a second language perceptual noise. But how does this simple concept can be so important in obtaining 'depths', and even in getting something you can approach the concept of 'language'? Why even now, on this concept, was only revealed one of the most basic schemes of teaching of traditional music. But to understand the vehemence of its relationship with the concept of clustering foundations of this project, you have to return once more to speak of the elements of visual representation / plastic. Well, speaking of 'balance', which caught me just to talk in terms of elements of visual representation / plastic, is on the concepts of 'Contrast'. 'Contrast', is the qualities of the design (and the line, which is seen as the main adviser for 'design'), what more can prove the transferability of the concept of 'balance'. Specifically, regarding the concept of 'contrast', the book 'Visual Syntax of Language, "by Donis A. Dondi says the following about the contrast of form, "... by creating a compositional antagonistic force, the dynamic contrast can be readily demonstrated in each basic element ... ',' ... if the goal is to attract the attention of the observer a regular, simple, and resolved, is dominated by irregular imprivisvel.When they are juxtaposed, uneven textures enhance the unique character of each.The same factors of disproportionate and juxtaposition of different qualities are remarkable job of all visual elements. When it is intended to leverage the value of contrast definition of dramatic effect, but it can at the same time and very successfully, to give greater refinement to the atmosphere and feelings that involve a visual manifestation. The contrast should enhance the designer's intentions ... 'op.Cit. pag. 109. Outlining the type of circumstances and the type of effects that involve visual elements,

you will quickly come to the conclusion that it is from this type of connections that the process creative can be built, which seeks the consolidation of the symbiosis between sound object and object vision. These examples lead to having to devise other forms of consolidation of the synesthetic subject, and now encourages approaches to some of the basics about the 'Theory of Form'. In that perception is seen as the sensitive approach of the real.Why here is justified because the man capture reality through the senses (messages). But is in our brain that makes the interpretation (decoding), to compare with previous sensations. Thus, if complete our perception of reality as 'Gestalt Theorie'. Our knowledge will deny or confirm the information received by our senses.Here we also learn that our perception changes according to established associations with reference to our experience, which makes the subjective interpretation of images. And you can do with it becomes irreducible to understand some principles that everyone sees what I have projected their personal and social.The same thing is interpreted differently by each person. And in the perceptual activity is influenced by different factors: Knowledge, historical and cultural context, geographic, family, sex, age, race. But we must also take into account that when we analyze the phenomenology of perception and its relationship with the aesthetic purpose we have to take into account and explained that the possible control of certain operations. They serve only to support an inquiry does not end. Have there will now perceive that three principles of 'Gestalt theory' ('gestalt' in German means global). They are. The Perceptual Field, Structure, and Form. By 'perceptual field' is a spatio-temporal situation, with constant characteristics in all its points, and the support of the various perceptual phenomena. By 'structure' is simpler than the skeleton or vertebrae can support the features of shape and spatial relationship between parts. Not just the sum of the elements, but a set of elements governed by a principle of ordering so that changing one part of the whole changes its structure. And that can be said that the structure is the way you organize the parts of a whole. For 'Form' means an area of the visual field that is isolated and so stands out. We tend to fill open spaces or mentally broken forms, continuing that presents the virtual discontinuous. A 'good' 'Form', in turn, is one that more easily identifies a number of ways. It is the most simple, regular, symmetrical and balanced. It has a strong structural unit, and the closer is the basic geometric shapes and the more symmetric is, becomes more pregnant. The encouragement of these lines, in figurative terms, is to perceive the shaping of the surfaces. This is one of subjective approaches to describe that what happens in the compositions, in semiotic terms. And, can set the guidelines for your chance to obtain the constitutive form. In the inter-relationship with the concept of 'balance', which is one of the concepts on which its semiotic understanding can be grasped in terms of sound and visuals. And, showing that there are more concepts that see the need for symbiosis with the elements of visual representation / plastic, and relate to the concepts of Balance and imbalance. And the origin of other concepts which relate to the notion of static and dynamic stresses. These notions of tension, serve to frame the structural schemes of work, building the ability to create the transmission of sensations to the receiver. This type of procedure is also one of the procedures that can guide the type of narrative construction, the language of sound. And that guide its focus so that we can perceive how the notion of focus that has been said in the example image 'gestalt', will also be an important factor here. But realize this relationship is best when it comes to 'Balance' / 'imbalance'.Speaking of 'balance', knowing that it must be understood as a state in which all the forces acting on a body to compensate. There is a tendency to balance the field of representation,

and that is that there is a need for natural, instinctive, the 'focus' attention to any new element that appears, and that has upset the order of the field, but will become even come to find balance. However, if talk of imbalance in the design, for example, easily find that an unbalanced composition seems always incomplete and unfinished. But these two forms of perception, will only really be understood by introducing the concept of 'weight'. This new concept of perception, the 'weight', depends on the 'location', depending on the position of a given object in the center, setting more or less weight according to this relationship with the center. But this relationship can be counteracted, by type of use of color. Where the allocation of a range of color can make, in addition to other types of semiotic context, more or less weight. Doing now, the analysis of the impact of these two concepts in the reconstruction of the sound object, and made in the compositions of the relationship with the concept of 'weight' and the concept of 'location', can speak in affinity provided the concept of'Tuplet'. 'Tuplet "means" any rhythm that involves dividing the beat of a different number of equal subdivisions than is normally permitted by the time signature. The use of this concept is then adjusted to the reality of concepts already bound in the language of the sound object. Where For example, you will perceive, respecting the coexistence between both strong and weak time. And in the origin of the concept of 'balance'. Where, the analogies do not stop here because, if we make a deeper study, repairwill be in all these configurations, which can morph in terms of perception of the 'weight' of the forms, and in particular the allocation of 'color'. Metaphorically one can speak of getting the color in visual object. But even on this concept, the book "Visual Syntax of Language ', cite' ... as the perception of color is the most emotional of the specific elements of visual processing, it has great strength and can be used with great advantage to express and enhance the visual information. The color is not only a universally shared meaning through experience, as well as an informative value, specifically, that is through the symbolic meanings attached to it ... '. This is to precede the issue of background color with the kind of connotation of concern that this element implies, on the subject kinesthetic. But what in the finiteness of my search, one can speak in subjective apprehension of harmonic variation, depending on the type of focus by juxtaposition, discerned through the power of contrast of forms, in terms of connotation of the sound object. In the search for sensory aspects of cognition, which allowed to talk about getting the 'color'. And with that will be able to speak also of obtaining a simplification of accents, what happens in the field color. Where their operation in the field of representation may sound subjectively to decipher, the agglomeration of layers of sound that are the spreads, as a factor of 'juxtaposition' and, or even 'accent' of the figures / musical forms. These types of 'threshold' of focus lead to that one has to measure a couple of other concepts, which are reissued in obtaining the dialectic with the elements of visual representation / plastic. What to do with the idea of getting 'weight', which can be affected by the specific utility that an element can have. When an element has a certain formal complexity, where there may be a shift of focus of attention. This kind of breed of 'weight' look can also be obtained in the field of sound representation. In particular, if the synchronization of a sound object, is made by the complexity of a particular sound of an instrument. Considering on getting the sound object that is a light that is implicitly present in a particular type of hearing aid concentration and focus. But when we talk about elements of visual representation, there is also a relationship between the achievement of 'weight' look, it has to do with its isolation from the context. Where it perceives that a certain figure has more weight if it is placed in space, which is placed on the ground. Also in getting the sound object, you can get this kind of 'weight'. For example, if there

are musical instruments over time and space they occupy, they create a kind of 'plot' sound that is repeated. If the observation of phenomena of this kind, there is a tool that makes their sound stand out of this 'plot', and you are on white notes, for example their exploitation by the sound, was not designed to be synchronized with the placement type of sound that the other instruments have. Making it exists not one but two dynamic poly rhythmic sound, which give two environmental ranges. The 'weight' is more readily admitted to the instrument that makes white notes than others. Here you can also explain the symbiosis with the terms of a sound language, such as the occurrence of the phenomenon of 'Sounds Arising'. If, in this case, the emission from 'pure sounds', or sounds coming from the same instrument. Or even experiencing other sound phenomena, which has to do with the occurrence of 'beat', if that 'story' is built by instruments of the same species, and if there is coincidence of phases. There is also, in the exploration of the visual object, an idea of the 'weight' look that can be implicitly present, according to the type of configuration elements. Where lingers the idea that geometric figures can attract more visual weight. This idea can also be worked in the exploration of the sound field. Namely whether to reconsider the sequentiality made between a 'tuplet' and a long note. This small example, can be explained in different ways. In the spare geometric assigned via the 'tuplet', will make the weight falls on the long note, which follows. What in terms of acoustic analysis would imply a refutation of the implications of 'feeling high'. Where, when considering this example, you might consider implementing considerations 'perception of time' considerations 'time of apprehension' of 'fabric' of 'intensity' of 'tone'. And who define themselves in achieving a design that emphasizes the search for a 'limit' conceptions of sound in practice. In particular, if we consider the example given, the observation of the concept of 'limit', the different dynamics that intersect the notes and in connotative terms depend on the amplitude of vibration. But in terms denoting that serve to contextualize the 'narrative discourse', by observing the concept of 'intensity'. The preceding example, the search can also explain the concept of 'limit', from the grasp of the dynamics for different connotation, allowed to observe the placement of the long note, and it also allowed the observation of other factors such as the 'tone' and 'tuning', under the observation of the concept of 'fabric'. But when looking for a concept of 'limit', may also be implicated connotatively scans back between the 'real time - physical,' and 'psychological time' before the 'perception of time'. Configuration in which the scope will be, and openness to other aspects. These issues can offer within the spectrum of the object kinesthetic, confirmation of the attempt of attraction (spoken in the observation of the aspect of 'Contrast'), and verify that it is here, too, as a characteristic of sequential image .And that might lead to the symbiosis with the image, and their encoding in visual perception. It can also transcribe the search for the "boundary" between the mode and type of 'sound perceptions', that our brain associates, before the 'time of apprehension.'Where the observation of cognitive encoding, fazer that has as main concern the construction mode of procedure, and how they will capture these aspects of the illustrative content symbiotic. It is from these types of interrelationships that builds an idiomatic code that will allow the objects to contemplate a creative kind of circumstances that allowed kinesthetic representation of the possible ways. These forms are created by these two fields of representation, the visual and audible. Where aspects of perception arise at the time of seizure that can be measured in its inter-relationship, seeking to capture audio and visual phenomena. That make that remains in the bond perceptive, a search for something that will expand as discourse. Where this demand refers to a pending spectrum, where the limits of its possible spread Seram recoded again. I know that the cohesion of an endless number of symbiotic aspects, which can lead to over-put the idea that this project proposal is incarcerated in filthy theoretical

propositions. However, I wanted to make it striking that this overlap theoretical refutation of the object is kinesthetic. And the consideration taken into account in establishing the symbiosis between elements of sound, and visual elements. And the idea that the more I have been so into having to continue my research.