After reading Marinna Guzy’s essay on soundscapes, and after listening to the audio in the article, my perspective shifted in how I interpret sound and the environment in which it exists. This is more or less what a soundscape is, the environment in which a collection of sounds exist and ideally harmonize. I began to think about this as a painting of sorts. Paintings, like soundscapes, each have traits that define the confined strokes, or in the case of soundscapes, sounds. All of these different components that make a whole painting or a whole soundscape clash with each other or harmonize with each other, there is rarely an in between in my eyes. So, soundscapes, like paintings, books, television shows, and movies are the culmination of different sensory inputs from the environment you are in. Your eyes can tell a visual story and feelings can be had within that. Your ears can also tell a story, but a story of sounds, which can evoke different feelings.
In high school I played basketball all four years (five if you include eighth grade). Every single year, every practice, every game, every meeting in the background I heard the basketball hoops clicking and clanking around, whether or not they were being raised or lowered is irrelevant. They always did this. Thinking of a soundmark example did not take me long because I still remember the distinct click and rattling. Sure, there were other sounds like squeaky sneakers, basketballs bouncing, and people shooting, but this was a constant, uninterruptible sound that is a perfect example of a soundmark.
Ultimately, Marinna opened my eyes and ears to thinking about the whole environment of sound at once, as a soundscape. For me this includes background noise like humming or any machinery that might be working.