I was initially looking forward to this book. The concept, to me - a bona fide acoustics geek - seemed interesting. Unfortunately, the book failed to deliver. While there are snippets of great information in the book, the authors seemed to repeat themselves too often to keep things moving at a healthy pace. I felt the book could have been at least half as long and it would have still lived up to the authors' intentions.
I disliked what I felt was the overuse of analogy in several chapters. Many times, the setup to a discussion, anecdote, or example was more interesting than the discussion, anecdote, or example itself. The last chapter or two were a real struggle, with the very last chapter being more of a philosophical discussion of evolution with (IMO) very little tying it back to acoustics and aural architecture.
In short, I would recommend this book only to the most die-hard acoustics fans. Lay readers will not gain much from the dry treatment of the subject matter. The best audience is probably students of human perception and psychophysics. Professionals in the audio and acoustics industries should definitely be aware of the subject matter, but I would probably recommend they read the various journal papers published by Blesser (e.g., in JAES), as opposed to this book.
Sonic media, as a discipline, is innovative and emerging. This book is an inter-disciplinary discussion of sonic spaces and auditory cultures. There is a history - and indeed a pre-history - of sound presented, alongside an understanding of how senses enable both perception and consciousness.
With attention to acoustics and anthropology, this is a fine book to enter the complex subject of aural architecture.
In their book, “Aural Architecture,” Barry Blesser and Linda Ruth Salter argue that the acoustic properties of a space, or aural architecture, can have significant impact on our perceptions, actions, and emotions. They suggest that aural architecture should be considered alongside visual architecture in terms of its aesthetics, symbolism, and social meaning. In the first chapter, the authors examine the relationship between aural architecture and cultural studies, while the second chapter focuses on concepts such as the acoustic horizon and auditory channel that contribute to our “auditory spatial awareness.” The authors also discuss the influence of technology on our public and private auditory spaces, and the potential for increased auditory awareness to improve social experiences. The interdisciplinary approach of the book, drawing on the fields of architecture, engineering, and social science, adds depth to the analysis of the complex interaction between sound, space, and humans. The introduction of this book has sparked further questions about the role of aural architecture in auditory history, and I anticipate that the upcoming chapters will provide further insight into this topic.
Enjoyed reading, there are plenty of hard acoustic and perceptual psychology theories explained in a manner accessible to a general humanist studies reader.