http://www.uni-verse.org/

In regards to what we call visible light, it must be emphasized that light itself cannot be seen – it is only the relationship of light and object that we can perceive. When you view the sun itself, it is not even the sun you see glaring back at you. It is still only reflected light, waves concentrated closest to their source, in the Sun’s own atmosphere, which then passes through our own earth’s atmosphere full of its own particles called our sky. It is still only particles reflecting what is otherwise invisible light.
G. Peter Madstone
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A soundwalk is the empirical method proposed by R. Murray Schafer for identifying a soundscape for a specific location. In a soundwalk you^[who?] are supposed to move through a limited geographic area, with your ears as open as possible, registering all the environmental sounds that you hear.
Perception happens according to Schafer in three categories: keynote sound, figure sound and soundmarks. Keynote is the basic environmental sound that is steady, predictable and always there. It is the base of the sound. Figure sounds are in the front of the perceptive focus. They are surprising, sudden or annoying. Soundmarks are these sounds that you identify a place with consciously. It can be the special sound of a clock tower, a tourist attraction or a special acoustic.
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Psychogeography
Psychogeography was defined in 1955 by Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."^[1] Another definition is "a whole toy box full of playful, inventive strategies for exploring cities...just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape."^[2]
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In "Formulary for a New Urbanism," Chtcheglov had written "Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams".^[5] Similarly, the Situationists found contemporary architecture both physically and ideologically restrictive, combining with outside cultural influence, effectively creating an undertow, and forcing oneself into a certain system of interaction with their environment: "[C]ities have a psychogeographical relief, with constant currents, fixed points and vortexes which strongly discourage entry into or exit from certain zones".^[6]
The Situationists' response was to create designs of new urbanized space, promising better opportunities for experimenting through mundane expression. Their intentions remained completely as abstractions. Guy Debord's truest intention was to unify two different factors of "ambiance" that, he felt, determined the values of the urban landscape: the soft ambiance – light, sound, time, the association of ideas – with the hard, the actual physical constructions. Debord's vision was a combination of the two realms of opposing ambiance, where the play of the soft ambiance was actively considered in the rendering of the hard. The new space creates a possibility for activity not formerly determined by one besides the individual.^{[citation needed]}

By definition, psychogeography combines subjective and objective knowledge and studies. Debord struggled to stipulate the finer points of this theoretical paradox, ultimately producing "Theory of the Dérive" in 1958, a document which essentially serves as an instruction manual for the psychogeographic procedure, executed through the act of dérive ("drift").
In a dérive one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there… But the dérive includes both this letting go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities.^[6]
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Between 1992 and 1996 The Workshop for Non-Linear Architecture undertook an extensive programme of practical research into classic (situationist) psychogeography in both Glasgow and London. The discoveries made during this period, documented in the group's journal Viscosity, expanded the terrain of the psychogeographic into that of urban design and architectural performance.
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Charles Fort, Ley Lines, Chaos Magic, Desire Lines, Austin Osman Spare
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A league on their own!
Letteriste Internationale
There was a serious purpose behind their ambulation. They developed the dérive, or drift, where they would wander like clouds through the urban environment for hours or sometimes even days on end. During their wanderings in the Summer of 1953, an "illiterate Kabyle" suggested to them the term "Psychogeography", to designate what they saw as a pattern of emotive force-fields that would permeate a city. The dérive would enable them to map out these forces, and these results could then be used as a basis upon which to build a system of unitary urbanism. Among their most important texts on these matters were Debord's "Theory of the Dérive" (published in the Belgian surrealist magazine Les Lèvres Nues, no. 9, November 1956), and Ivan Chtcheglov's "Formulary for a New Urbanism" (written October 1953, but not published until June 1958 in the first issue of the journal Internationale Situationniste). In the latter, Chtcheglov advocated a new city where, as he wrote, "each person will live in his own personal 'cathedral'. There will be rooms that produce dreams better than drugs, and houses where it will be impossible to do anything but love." He declared, "The Hacienda must be built", a remark which would later inspire the name of the famous Manchester night-club. In "Introduction to a Critique of Urban Geography" (Les Lèvres Nues, no. 6, September 1955), Debord described a colleague's drift through the Harz region of Germany, blindly following a map of London. This is still a favourite methodology amongst psychogeographers. They produced a broad range of proposals: the abolition of museums and the placing of art in bars, keeping the Metro open all night, opening the roofs of Paris like pavements with escalators to help gain access.