A Quote by Julian Treasure

Sound changes moods, yet most of the sound around us is unplanned. — © Julian Treasure
Sound changes moods, yet most of the sound around us is unplanned.

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All things are aggregations of atoms that dance & by their movement produce sound. When the rhythm of the dance changes, the sound it produces also changes... Each atom perpetually sings its song, and the sound at every moment creates dense subtle forms.
Sound affects us physiologically, psychologically, cognitively, and behaviorally all the time. The sound around us is affecting us even though we're not conscious of it.
turns me on so loud it's like no sound, everybody yelling at me hands over their ears from behind a glass wall, faces working around in talk circles but no sound from the mouths. my sound soaks up all other sound.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
Sound comes to us over time. You don’t get a snapshot of sound. Therefore, what you notice with sound, the essential building block, is change.
We needed to make a sound that's not gonna fit in with everything else - we wanted to make something that was completely unique and individual to us. We spent a lot of time trying to make a sound that was a One Direction sound. At first it was quite hard to do that, but I'm really happy with the sound.
Artists are creating their own genre sound, and other artists are building upon that sound and already creating a huge subculture created around one particular sound created by one artist. So, with all that happening, the genres are going to break down, and there's going to be a multitude of sound coming out.
Now, what happens whenever there's a loud sound is that it startles us, right? And we arrest what we're doing, and we try to localize that sound because that sound could be a threat. That's something that's hard-wired in our bodies.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
Part of the success of This American Life, I think, is due to the fact that none of us sound like we should be on the radio. We don't sound professional; we sound like people you would know.
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
We never look deeply into the quality of a tree; we never really touch it, feel its solidity, its rough bark, and hear the sound that is part of the tree. Not the sound of wind through the leaves, not the breeze of a morning that flutters the leaves, but its own sound, the sound of the trunk and the silent sound of the roots.
It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.
If sound is music and came from silence, then silence is potentially greater than sound. If the sound is effective, it should actually have a chemical - some sort of physiological - effect on the listener, so he doesn't have to hear that sound again.
I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.
I am a sound freak. I could play around with sound forever.
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