We often do not appreciate the importance of sound as a brand asset and that it should be recognised and managed in accordance with its value as a brand attribute. In our daily lives we rarely encounter one sound in isolation; usually there are multiple sounds firing off all around us. The entirety of the sound in any one location is a soundscape.

The word was coined by Canadian sound pioneer R. Murray Schafer. His concept of a soundscape was essentially an auditory landscape, almost exclusively applied to outdoor locations, and has been used by a thriving aural ecology movement ever since in their campaign against encroaching urban noise and their passionate efforts to record disappearing soundscapes.

I hope that in the future there will be more and more recording and archiving of some of the soundscapes we’re going to lose. The internet will make it possible for virtual soundscape museums to be set up, and the effort will be extremely valuable for generations to come. Each great city needs a soundscape archive because it’s usually not until something has disappeared that we miss it.

In London, some of the classic sounds my parents knew no longer exist and it would be fascinating to hear them: examples include the sound of tugboat whistles on the Thames, rag-and-bone men calling from their horse-drawn carts and the sound of steam trains in the great metropolitan termini. Characteristic London sounds I know so well and take for granted, like “Mind the gap” on the tube or the sound of black cabs, will not last for ever.

When starting to design a soundscape it’s useful to distinguish background sound from foreground sound. This is not a hard and fast rule, and the scale has many shades of grey, but the concept is particularly potent when designing soundscapes. Background sound (also called ambient sound) tends to be quieter, easier to ignore, more continuous, less variable, broader in spectrum; foreground sound tends to be louder, more intrusive, composed of recognisable events, changeable, located in particular frequencies. For example in a restaurant the background sound might comprise other patrons talking, the clatter of cutlery and low-level background music; the foreground sound might be our companion or a waiter speaking to us and the sound of our own cutlery and crockery. In a supermarket, background sound might include people talking, beeping tills, trolley noise; foreground sound might be a staff announcement or a baby screaming right next to us.

The distinction is totally situational, but when we are designing soundscapes we need to ask what foreground sound people will be trying to focus on, and what background will be most conducive to that happening. In some soundscapes the background effectively becomes the foreground: conversation is not the primary function in a nightclub or at a football match.

The question in all cases is: what’s useful, appropriate and effective given the nature of the space, its function, the people in it and the brand or values behind it? Every space has a soundscape, and every soundscape should be designed to be appropriate and effective, as well as congruent with the messages being received through all the other senses.

Julian Treasure is a global expert in the evaluation, strategic planning, deployment and implementation of sound in business; the chairman of The Sound Agency – a leading audio-branding consultancy; the author of Sound Business and the creator of BrandSoundTM: a strategic framework for the effective use of sound in brand managemen

Over the centuries, art has been hailed as a great creative reflection of past times, a record focusing on certain aspects of society in that particular time.

More and more in recent years,these records by highly regarded artists throughout the past have become seen as invaluable and almost priceless items. I say, ‘almost’ priceless, because as we often see in some of the world’s great auction houses, works of art selling for incredibly high sums.

How difficult it is to place a value on an original unique piece of art that is the only representation of a certain scene during that period.

Fashion does have a part to play in the increase or decrease of a painting. The most susceptible type of work to ‘fall from favour’ overnight is modern, or contemporary work. From the investor’s point of view timing is absolutely critical when buying or selling a piece of this art. As we have seen, a contemporary painting valued at over one million pounds can sometimes be sold for a mere fraction of that figure when the fashion changes and the work is regarded as ‘old hat’.

The safest, and probably the most sensible approach to investing in art is to consider artists that have a proven track record for many years. Not simply a local or national artist that has been heavily promoted by the publishers for a short period of time, who then drops into obscurity within a matter of years. But an artist whose work is seen in many public galleries throughout the world and has had an extremely successful career, an artist who’s work is collected by knowledgeable members of the community, and is held in high esteem throughout the art world.. The work by these artists are definitely the most collectable, as they will stand the test of time and have something of real value to say to their observers.

Do not be persuaded by the luxury furnishings of a well placed gallery and a professional seller. Do a little research into the artist’s work that you wish to collect, and remember that if you are buying for decoration only, then let the price you pay work some work reflect that. If you are able to combine pleasure and investment then it is a bonus, but it is a difficult and tricky task to do so. Many people are lulled into a false sense of security, listening to only what they wish to hear, and are surprised years later that their ‘investment’ has increased as much as their car or three piece suite’.

Choosing a successful pageant platform can be a daunting task, especially for those of you who are just beginning in pageantry. Take a deep breath! If you had the courage to enter a pageant, you have the ability to develop a highly successful pageant platform. Do not be overwhelmed by all of the paperwork, research, and volunteering that is assumed when you dive into a pageant that requires a platform. Ease your anxieties and follow these 5 steps:

1.) Make a List of Causes That are Important to You

This is your first step to finding success with a platform. If you are not developing a platform that has significant meaning to you, it will be very difficult for you to get others involved. Common requirements on platform information sheets are issues you wish to address, your plan for creating awareness, and ways you will change the behaviors and attitudes of others related to and regarding the issue. There are so many organizations for all different causes that you have the world at your fingertips to choose a platform you are truly satisfied with. Take the time to sit down and consider what causes are important to you then make a list.

2.) Do Your Research

Now that you have made your list, do your research. Spend time trying out different phrases and keywords that pertain to your cause. If you are planning to support domestic violence prevention search for domestic violence prevention groups, national organizations, state organizations and events. Also search for state and national facts pertaining to your cause and do not rely on just one source. One website may say that 1 out of 7 teens experience domestic violence in relationships while another may say that 1 in 4 ninth graders experience domestic violence in relationships; it is the same general concept but a different fact. Search around to find concrete facts that are backed up by many different sources before you use them in your platform. Expect to be asked any question pertaining to your platform by your audience, whether it be judges or the groups of people you are presenting to when you are a titleholder.

3.) Find Resources and Organizations on Local, State, and National Levels

When judges and pageant directors are considering the criteria for choosing a titleholder on any level, they are considering whether or not they will be able to continually use your platform to market you and their organization. Does your organization go beyond a local level? For example, if you are supporting a school for children with special needs that is found in your local town, but you cannot find any other sources for that organization beyond the local level you are limiting yourself by using that platform. That is not to say that you cannot use a platform that benefits children with special needs and their families. Consider choosing a platform that allows you to utilize other organizations that are well-known on a state and national level such as Special Olympics. By reorganizing your platform to give you a wider range of opportunities, you are expanding your rate of success. If judges see that you can easily step into the local, state, and national role with your platform their view of your preparation to hold any title responsibility is automatically more positive.

4.) Be Creative!

Now you have found a platform, done your research, and decided on an organization that will help you promote your cause. The next step you need to take is naming your platform. Your easiest option is to name it after the organization. For example, if you are going with Special Olympics you may decide to name your platform Special Olympics, I would advise against this option unless you truly feel it is most beneficial. If you are solely promoting Special Olympics as an organization and program, using their name would be something that may be more beneficial than choosing a name people may not recognize. However, if you are planning to promote a cause such as supporting the families of children with special needs you should develop something more creative than just “supporting the families of children with special needs.” Set yourself up for success by defining your goals within your platform title. Make use of acronyms, acrostics, and puns. Think of Michelle Obama’s organization “Let’s Move!” She did not decide to just use “Prevent Childhood Obesity” or “Raising Awareness of the Childhood Obesity Epidemic.” She got creative with her platform. People see the words “Let’s Move!” and they know that it has something to do with moving, exercise, and getting involved as a group.

5.) Connect with Your Audience

Last but definitely not least, connect with your audience. The judges are not the only group of people who will be seeing or experiencing your platform. Any audience, director, social group, etc. will be able to see what your platform is supporting. Write your platform in order to gain the interest of your audience. Do not use only statistics and facts to describe your cause. Yes, it is important to know the percentage of children suffering from childhood obesity in the United States, but if you do not pair that fact with something that connects with the reader it will fall flat. Your platform is meant to get people involved, change behaviors and attitudes towards your chosen issue, and promote not only the cause but the positive impact of women in pageantry. Think of impactful stories that move you when you think of the cause you have chosen. People want to feel connected with your plan; they want to feel like they are a part of the change you are making. Involve people by using your platform as a tool for interaction instead of a statistics paper.

If you follow these 5 easy steps, you will be on your way to having a platform that will help you achieve goals and change the lives of others!

Copyright 2011 Elizabeth Hughes All Rights Reserved

Elizabeth Hughes is a makeup artist and pageant coach based in Tulsa, Oklahoma. Specializing in weddings, pageants, and other special events she can cater to your cosmetics and styling needs. Elizabeth Hughes pairs her pageant experience with her professional education to coach clients from all over the nation to be skillfully polished in the area of communication. Amaranth Collection is Elizabeth Hughes’ own line of cosmetics and accessories geared towards the elite pageant contestant and high fashion woman. From offering makeup lessons, on site hair and makeup to on-stage modeling lessons, interview coaching, and wardrobe styling Elizabeth is the jack of all trades in the pageant industry.