Izvor/Source: Šetnje kroz stvarni grad / Walks through non-fictional hoods
English version below
Grad je akustična kulisa sastavljena od uzajamno (ne)rezonirajućih kretnji koje predstavljaju život između čestica materije i unutar njih. Taj nevidljivi javni prostor najbolje možemo razumijevati ako si arhitekturu grada predstavimo kao unutrašnjost jednog akustičnog instrumenta oblikovanog s namjerom da omogući život (ne)sagledivog broja treptaja koji unutar njega (ne)kontrolirano (di)fuzioniraju. Razumijevanje arhitekture grada uz pomoć fizičkih zakona iz oblasti akustike otvara pogled u jednu stvarnost sa kojom smo u stalnoj fizičkoj i psihičkoj interakciji dok je istovremeno, po pravilu, nismo svjesni.
Kao mikročestica kretnje treptaj je najprisutnija prirodna pojava koja postoji kako u čovjeku, u biljci, tako i u kompjuteru. Poznavanje izvora treptaja koji čini kretnju, zvuk, ton nije dovoljno da bi se razumio uticaj određene zvučne kulise jer nju oblikuju mnogi drugi aspekti prostora, kao i priroda izvora treptaja i njegovih agregatnih stanja. Ova pitanja su u centru interdisciplinarnog polja akustične ekologije kao naučne discipline koja se bavi uticajima akustičnih kulisa na fizičke reakcije ili karakteristična ponašanja živih bića koja su kulisama okružena.
11.15 h – Trg BiH, čvrst udar zvona Župne crkve svetog Josipa odzvanja arhitekturom zvonika. Kao da traži put. Prolazi kroz otvore i kamene zidove, izlazi van i prostire se zrakom. Dok traje, postaje zvučan prizor tečne kretnje koja u valovima popunjava akustiku Trga Karla Paržika da bi u jednom matematički izračunljivom kalkulusu jeke, sukcesivno slabeći, odlazila u gasoviti beskraj vrtloga treptaja okolnog prometa dajući tako svoj doprinos stvaranju jedinstvenog šuma.
Stvaraoci i stvarateljice akustičnog instrumenta nastoje da oblikom koji prati zakone akustike upriliče autentičan zvuk sačinjen od neprebrojivih treptaja. To je za njih suština njihovog zanata. Prostor grada ima jednak učinak. Uprkos tome, stvaraoci i stvarateljice arhitekture grada akustične kulise javnog prostora ne uzimaju kao parametar arhitektonskog stvaralaštva.
Nagomilano znanje u polju akustičke ekologije o štetnim uticajima akustičnih kulisa javnog prostora na bića koja u njima žive pokazuje da ovakva vrsta analize mora biti integralni dio planova i odluka graditelja grada kako bi se izbjegli ovi efekti.
Na Marijin-Dvoru primjerice, kod javnog sata, otkriva se skulptura buke koju sam zbog simetrije arhitekture refleksija i izvora zvuka nazvao “Akustično ogledalo”. Tu arhitektura i saobraćaj unisono generiraju akustično okruženje, dok algoritam semafora zaustavlja pješaka na jednom mjestu i ostavlja ga da stoji i sluša. “Akustično ogledalo” predstavlja proizvod gotovo beskonačno mnogo nasumičnih i (ne)kontroliranih odraza treptaja različite jačine, intenziteta i frekvencije kretnji koje se sudaraju i kombiniraju. Subjektivno je se doživljava i u vremenskoj i u “arhitektonski konfigurisanoj” prostornoj datosti, što su isti procesi koji se odvijaju i u unutrašnjosti jednog akustičnog instrumenta.
Akustična svojstva materijala arhitekture igraju važnu ulogu u proizvodnji ovog efekta. Pored njih, skulpturu čini raspored obližnjih prolaza i sporednih ulica, blizina otvorenog prostora, atmosferski pritisak, vlažnost zraka i mnogi drugi dinamički elementi okruženja. Nisu samo saobraćaj i arhitektura umiješani u gradnju akustičnih kulisa grada, mnogi drugi izvori treptaja stvaraju “zvučne autentičnosti”.
Jedna od najopulentnijih akustičnih kulisa grada koja se oko podneva pretvori u pravi elektroakustični koncert zvuka je raskrsnica kod Ali-pašine džamije.
12.30 h – Širina ulice Maršala Tita podijeljene na šest traka omogućava ovom izvoru treptaja zvučnu dominaciju cjelokupnom kulisom koju presijecaju četiri trake ulica Hamze Hume, Ali-pašine ulice a tu je i odvajanje za Kranjčevićevu i nastavak ulice Maršala Tita. Prostor se ispuni treptajima i elektroakustični koncert počinje. Semafori kao dirigenti reguliraju trajanje dijelova kompozicije treptaja kotrljajućih guma na asfaltu, klipova motora dok stoje, dok kreću, usporavaju, ubrzavaju… Izlizani diskovi soliraju na visokim frekvencijama iznad tonova sirena. A onda, kao neki veo, kulisom protutnji dubok isprekidan bas kojeg prati zvuk što ga prenose šine. Sve prekida aritmičan udar u metalne poluge, agresivno akcentiranje kočnicama tramvaja i upozoravajuća zvonjava, a onda, u okuci, elektroakustična minijatura, zvuk kratkog spoja električnog napona mreže tramvaja i trolejbusa.
U (algo)ritmu dirigenata, zatišje, koraci, a u vrijeme poziva na molitvu, kulisu pokrije elektroakustična reprodukcija glasa mujezina. Od čega je sastavljena zvučna kulisa grada postajemo svjesni tek kad se uzdignemo nekih 450 metara iznad nakupine zvučnog otpada koji treperi iznad grada. Tu nas zatiče tišina. U zvučnoj bašti prirode, ozbiljne oblikovateljice zvuka, možemo čuti mir. Tu shvatamo efekte treptaja koje stvaraju ljudi na strukturu prirode same.
The city is an acoustic stage composed of mutually (non)resonating movements that represent life between and within particles of matter. We can best understand this invisible public space if we imagine the architecture of the city as the interior of an acoustic instrument designed with the intention of enabling the life of (in)numerable flickers that (dis) fuse within it in an (un)controlled manner.
Understanding the architecture of the city with the help of laws of physics in acoustics opens a view into a reality with which we are in constant physical and mental interaction, while at the same time, as a rule, we are not aware of it. As a microparticle of motion, flicker is the most present natural phenomenon that exists in human, in plants, and in computers. Knowledge of the source of flicker that makes movement, sound, tone is not sufficient to understand the influence of a certain sound stage, because it is shaped by many other aspects of space, or the nature of the source of flicker and its aggregate states. These issues are at the center of interdisciplinary acoustic ecology as a scientific discipline that deals with the influences of acoustic stages on physical reactions or characteristic behaviors of living beings that are surrounded by the stages.
11.15 am – BiH Square, a strong ringing of the bell of the St. Joseph’s Church echoes the architecture of the bell tower. As if it is looking for a path. It passes through openings and stone walls, exits and spreads through the air. As it lasts, the scene of the liquid movement becomes audible, filling the acoustics of Karl Paržik Square in waves, and in one mathematically calculable echo calculus, it successively weakens and departs to a gaseous infinity of the vortex of flashing surrounding traffic, thus contributing to the creation of a unique noise.
The creators of an acoustic instrument strive to create an authentic sound made of innumerable vibrations in a form that follows the laws of acoustics. For them, that is the essence of their craft. The space of the city has the same effect. Despite that, the creators of the city’s architecture do not take the acoustic aspect of a public space as a parameter of architectural creativity. Accumulated knowledge in acoustic ecology about the harmful effects of acoustic stages of public space on the creatures living in them shows that this type of analysis must be an integral part of the plans and decisions of city builders to avoid such effects.
At Marijin-Dvor, for example, by the public clock, a sculpture of noise reveals, which I named the “Acoustic Mirror” due to the symmetry of the architecture of reflections and sound sources. Here, architecture and traffic generate the acoustic environment in unison, while the traffic light algorithm stops the pedestrian in one place and leaves him/her standing and listening. The “Acoustic Mirror” is a product of almost an infinite number of random and (un)controlled reflections of flickers of different strength, intensity and frequency of movements that collide and combine. It is subjectively experienced in both temporal and “architecturally configured” space, which are the processes that take place in the interior of an acoustic instrument.
The acoustic properties of architectural materials play an important role in the production of this effect. In addition to them, the sculpture consists of the layout of nearby passages and side streets, the proximity of open space, atmospheric pressure, humidity and many other dynamic elements of the environment. Not only are traffic and architecture involved in building the city’s acoustic stage, but many other sources of flicker also create “sound authenticities”. One of the most opulent acoustic stages of the city, which turns into a real electro-acoustic sound concert around noon, is the crossroads near the Ali-paša Mosque.
12.30 pm – The width of Maršal Tito Street divided into six lanes allows this source of flicker a sound domination over the entire stage intersected by the four lanes of Hamza Humo Street and Ali-paša Street; there is also a side road for Kranjčevićeva and continuation of Maršal Tito Street. The space is filled with flickers and electroacoustic concert begins. Traffic lights as conductors regulate the duration the duration of parts of the flickering composition of tires on asphalt, engine pistons while stopping, moving, slowing down, accelerating… The worn discs solo at high frequencies above siren tones. And then, like a veil, a deep intermittent bass rumbles through the stage, accompanied by the sound of rails. Everything is interrupted by an arrhythmic blow to the metal bars, aggressive accentuation of tram brakes and warning bells, and then, in the curve, electroacoustic miniature, the sound of a short circuit of the tram and trolleybus network electric voltage.
In conductors’ (algo)rhythm, the calm, the steps, and at the time of the call to prayer, the stage gets covered by the electroacoustic reproduction of the muezzin’s voice. We only become aware of what soundstage of the city is made of when we rise some 450 meters above the accumulation of sound waste that flickers above the city. Here we meet silence. In the soundgarden of nature, a serious sound designer, we can hear peace. Here we can understand the effects of human made flickers on the structure of nature itself.
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