Singularidades sonoras de um patrimônio cultural e atribuições de sentidos a uma representação tridimensional e interativa

Abstract

The Coronel Pedro Osório Park and its surroundings are one of the main public gathering places for the citizens of Pelotas and the first item on a tourist itinerary through the city. It is situated within in the historic center of Pelotas city, its cultural and artistic value recognized by the National Historical and Artistic Heritage Institute. Much information has been gathered and systematized for understanding the biography of this cultural landscape of city of Pelotas. This information, often enhanced both by analog and digital photography, has addressed the sense of sight. In contrast, to provide greater accessibility to this information, the MODELA Pelotas Project developed by the Digital Graphics Teaching/Learning Study Group (GEGRADI) of the Faculty of Architecture and Urbanism (FAURB) at the University Federal of Pelotas (UFPel) has contributed to represent the form of the aforementioned urban space to allow tactile experience through physical models, associated with audio descriptions. However, there are few representations that expand the experience to include information about sound, under the premise that it is a unique characteristic of a place and an activator of memories capable of re-signifying cultural heritage. In view of these considerations, this study identifies and experiments with theories and technologies that facilitate thinking about a space of representation for the insertion of new layers of information relating to the sound singularities of the surrounding area of the Coronel Pedro Osório Square. To this end, it starts with a bibliographic and technological review in order to experiment with physical and/or digital gaming platforms that can be used in the context in question, based on existing digital and physical representations of the specified location. The study is based on reflections by Vilém Flusser, particularly on the concept of technical images and on the differentiation between open and closed games, and on the understanding of the term soundscapes, addressed by Murray Schafer. The research results contributed to advancing the development of the gradual addition of information method (AGI), constituted by GEGRADI, for the characterization of tactile models as assistive resources for the interpretation of cultural heritage. Thus, in addition to thinking about sound as a memory activator and as a producer of meaning about a heritage, the study points the way to expanding representational means for the cultural inclusion of people deprived of one of their senses.