The sound of the future

[mjzee]

Interior design is now a lucrative and far-reaching – some might argue, bloated – industry. The import and export of styles is big business, top designers such as Kelly Hoppen and India Hicks have achieved filmstar status (one or two others the dubious fame of fraudsters) and then there’s the lucrative spin-off culture of books, magazines and reality television shows. Its emphasis, however, has so far rested almost exclusively on the visual.

Once clients have agonised over colour palettes, fabrics and fittings, it’s rare that any thought is given to the sound of a space, aside, perhaps, from blocking unwanted noise or integrating the latest Bose speaker system. Partly this is because our understanding of sound has always been vague, and partly because sound designers – a blurry spectrum of DJs, artists and sound engineers – have pursued a range of careers. But there is a sense that this once mysterious subculture is finally gaining mainstream credence. A growing number of individuals are promoting the importance of sound design in public and domestic settings. Among them is Lawrence English, an Australian composer, curator and sound artist.

“We’re so conditioned to experience the world through our eyes that the other senses really suffer,” English says. “It’s always interesting to go into a space you know very well and then close your eyes. It’s not something people do very often but it can be very powerful.”

Continued here:

Financial Times

[Teasing the Korean]

And the album that should be played in such spaces is Russ Garcia's Fantastica.