DriftEcho & Raskolnikov
Raskolnikov Raskolnikov
Π—Π°ΠΌΠ΅Ρ‚ΠΈΠ», Ρ‡Ρ‚ΠΎ ΠΎΠ±Ρ‹Π΄Π΅Π½Π½Ρ‹Π΅ Π·Π²ΡƒΠΊΠΈ Π²ΠΎΠΊΡ€ΡƒΠ³ нас – это ΠΊΠ°ΠΊ Π½Π΅Π²ΠΈΠ΄ΠΈΠΌΡ‹ΠΉ ΠΌΠΎΡ€Π°Π»ΡŒΠ½Ρ‹ΠΉ экспСримСнт, Π²Π»ΠΈΡΡŽΡ‰ΠΈΠΉ Π½Π° наши мысли ΠΈ Ρ€Π΅ΡˆΠ΅Π½ΠΈΡ. Π§Ρ‚ΠΎ Π΄ΡƒΠΌΠ°Π΅ΡˆΡŒ ΠΎΠ± использовании Π·Π²ΡƒΠΊΠ°, Ρ‡Ρ‚ΠΎΠ±Ρ‹ ΠΏΡ€ΠΎΠ²Π΅Ρ€ΡΡ‚ΡŒ ΠΈΠ»ΠΈ ΠΏΠΎΠ΄Ρ‚Π°Π»ΠΊΠΈΠ²Π°Ρ‚ΡŒ людСй ΠΊ этичСским Π²Ρ‹Π±ΠΎΡ€Π°ΠΌ?
DriftEcho DriftEcho
I see it more as a variable to tweak in a bigger system than a direct moral lever. When you layer ambient sounds you’re changing the background context that people process, so if you design that context to prime empathy or caution it’s a subtle experiment. I’d be fascinated to map out which frequencies or rhythms actually nudge a choice, but I’d also keep a tight ethical line, making sure the influence is transparent and not a hidden manipulation. The city itself is a constant lab, and I just try to listen closely before I decide what to record.