Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 14 of 14 Parameters |
| Adams, E. W. 2003, November 4–6. The construction of ludic space. Paper presented at Level Up. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:17 | |
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Following his observations on real-world sound, has the following to say about "ludic spaces": If enough speakers are available, audio approaches 3D quality. Player-created sounds must be supported by the hardware to be audible. The no. of hardware channels limits the no. of ambient sounds. Acoustic phenomena such a echoes are simulated inaccurately or are not present. Usually the player cannot interact with the audio environment by making sound at will. Usually a soundtrack. |
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| Points out that it will be a long time before VR hardware is capable of reproducing the full range of human visual and auditory perception. | |
| Discussing the relationship between architecture and gameplay, he says that architecture can provide subtle clues to aid in exploration - sunglight through a window informs about the environment the other side of the wall. | |
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Makes the following observations on real-world sound: Perception is 3-dimensional. All observer-created sounds are audible. The aural environment may be created from an infinite number of sounds. Acoustic phenomena such as echoes are created naturally by the materials and shapes in the world. The observer can explore the soundscape by making sound at will. Usually no soundtrack. |
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| Altman, R. (1992). Sound space. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 46–64). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 16/02/2006, 07:28 | |
| As the image on screen flits about incessantly drawing our eyes hither and thither, it is the sound track, with its constant scale, that provides stability and an anchorage. "It is thus the sound track that provides a base for visual identification, that authorizes vision and makes it possible. The identity of Hollywood spectators begins with their ability to be auditors." | |
| Summarizing 1930's film sound theoretician J.P. Maxfield "the sound track must carry, independently from the image, all the information necessary to reconstruct the "real" space of the scene (that is, the one represented by the image)." | |
| An important point here is the relation between sound scale and image scale and the effect on film sound of single microphone technique, multiple mikes, mixing, sound editing, microhpone placements etc. In the early '30s, the emphasis was directed to authentic spatial recording (with a human body analogy) but, with the development of condensor microphones (required to be close to the sound source) and boom technology, this shifted to an emphasis on clarity (of dialogue). This had implications for mixing in post-production leading to the contruction of a sound track rather that its recording. By the end of the decade, attempts to match sound scale accurately to image scale had been all but discarded. | |
| By the end of the '30s, sound scale/image scale proportionality had been discarded in favour of (dialogue) intelligibility. The notion of the internal auditor (point-of-audition) was developed -- the spectator is required to identify with or inhabit the body of an on-screen character who will hear for us. Reverberation is used to identify sound intended for this character (little or no reverb) or not (greater ratio of reverberated sound to direct sound). The spectator is inserted into the film narrative "at the very intersection of two spaces [film space and the internal auditor's space (the character's body)] which the image alone is incapable of linking, thus giving us the sensation of controlling the relationship between those spaces." (p.61) | |
| Fernández-Vara, C., Zagal, J. P., & Mateas, M. 2005, June 16–20. Evolution of spatial configurations in videogames. Paper presented at Changing Views -- Worlds in Play, Toronto. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 05/08/2005, 10:48 | |
| Gallese, V. (2016). The multimodal nature of visual perception: Facts and speculations. Gestalt Theory, 38(2/3), 127–140. |
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| Added by: Mark Grimshaw-Aagaard 29/09/2020, 10:35 | |
| Güttler, C., & Johansson, T. D. Spatial principles of level-design in multi-player first-person shooters. Paper presented at Proceedings of the 2nd workshop on Network and system support for games, Redwood City, California. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/01/2005, 11:29 | |
| Use the term "collision points" to designate areas of virtual space where teams meet while carrying out their missions and "where the result of the game is often decided." These are not visually indicated in the map but arise out of possible team route interceptions or locations critical to the mission. A "reasonable interception of probably team routes" is a requirement of good level design. | |
| Discussing the concept of a COunter-Strike "map" (level), state that it is better to perceive of maps as "spatial abstractions of levels." | |
| Discusses Jesper Jull's ideas of games of emergence and games of progression and equates these two respectively to multiplayer and single-player (FPS) games. | |
| King, G., & Krzywinska, T. 2003, November 4–6. Gamescapes: Exploration and virtual presence in game-worlds. Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:14 | |
| "Many 3D action-adventure or first-person shooter games occupy a space between extremes of restriction and freedom to explore." | |
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"The greatest exploration is usually found in role-playing games". Says that Everquest has an "impression of uninterrupted freedom of exploration". |
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| Lastra, J. (2000). Sound technology and the American cinema: Perception, representation, modernity. New York: Columbia University Press. |
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| Added by: Mark Grimshaw-Aagaard 13/03/2006, 09:16 | |
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"...not only are technological form and development intimately related to reigning aesthetic norms, they are at times in conflict with them as well." Discussing a dialectic between technology and aesthetic and/or practical context. This chapter is about "the heterogeneous nature of technology and the local and contingent nature of ideological determination." -- they are symbiotic. |
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| "Rather than records of perceptually specific events, sounds here are signifiers of an absent, but inferred, narrative." | |
| Discussing Hollywood sound technician George Lewin writing in 1931, technicians recorded characteristic effects for stock sound to be used for dubbing purposes. For Lastra, this is symptomatic of the move from the fidelity of the original to a constucted representation of reality. "Sound space, no longer theoretically defined by the passive perceptions of a securely located (and physically real observer), is now shot through with the hierarchies of "dramatic" relationships." | |
| "Decades of tin-sheet thunder and coconut shell hooves prove ... that fidelity to source is not a property of film sound, but an effect of synchronization." | |
| In a section discussing the idea of sound representation, the 'original sound' and the theories of Williams, Leven and Altman as opposed to those of Baudry, Metz et. al., Lastra states: "...given a particular "original," [sic] it is impossible to predict what any copy will sound like..." and uses this as a justification for the theoretical worthlessness of the "original". Lastra takes Edison's view on the function of the original: it's not meant to be heard by anyone, it is "one stage of a multistage representational process." p.128 | |
| "Vision and hearing are the senses that, as a consequence of nineteenth century innovations, have been most fully penetrated by technology and that have, reciprocally, shaped sensory technologies to the greatest degree." | |
| As sound engineers adapted to the aesthetic demands of Hollywood, the concept of 'invisible auditor' (based on a concert hall listener) gave way to the 'ideal auditor' and a jettisoning of any attempt to faithfully capture the original sound. | |
| With the development of talkies, sound engineers were forced to discard their goal of duplication sound on a shot by shot basis in favour of narrative continuity over several shots/scenes (e.g. unchanging background noise) and adopt a role as representors or constructors of sound/reality. Very different to music recording (at the time). | |
| Discussing the development of sound recording in Hollywood 1926-34, describes the notion of the 'invisible auditor' with an experience similar to that of a listener in a concert hall (able to discriminate every nuance of sound) -- hence close boom miking (to provide this discrimination but seemingly incompatible with the concert goer in the middle of the audience). | |
| Discussing trends in sonic accompaniment to 'silent' films: instead of picking out every single visual cue and rendering it as a sound effect (as some did), performers were increasingly encouraged to foreground just one or two visual cues within a hierarchical visual space that itself was dominated by a conception of narrative. Thus, in cinema, did sound become subjugated to image through the teens and 1920's. | |
| Points out that many early attempts at synchronizing image + sound required the image/performance to be fit to a pre-recorded soundtrack. | |
| A digression into the "illustrated song" popular from the 1880's (still images - slideshow) to the 1890's/1900's (still + moving images) where the image was subordinate to the sound yet audiences still expected a good match (Lastra refers to this as a form of synchronization) between image and sound. Also, "travelogues"/lectures with spoken voice over scenic images. | |
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As an example of the heterogeneous nature of, or the dialectic relationship between, technology and aesthetics, Thomas Edison's choice of recording artists is presented. Where other companies chose artists of public reknown (e.g. Victor had Caruso), Edison chose unknown singers whom, he claimed, had voices better suited to (the characteristics of) his phonograph. This meant no tremolo, enunciative clarity, pure unadulterated tone. Performers wishing to be recorded came to realize that, in some cases, they must adapt to the technology. Lastra decries the equation of the microphone's passive listening to the notion of the camera's click -- an absolute duplication -- and argues for the term 'representation' rather than 'recording' when dealing with both image and sound. It is impossible to separate process from performance -- hence the dialectic between technology and aesthetics. See notions of phonogeny (Chion 1994, pp.101–104) |
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| Semiotic signs (indexical signs apparently) can be used to trick and hoax people. | |
| Lindquist, M. W. (2014). The impact of sound on virtual landscape perception: An empirical evaluation of aural-visual interaction for 3d visualization. Unpublished Doctoral Thesis, University of Sheffield, United Kingdom. |
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| Added by: Mark Grimshaw-Aagaard 16/09/2014, 10:53 | |
| More, G., Harvey, L., Moloney, J., & Burry, M. Implementing nonlinear sound strategies within spatial design: Learning sound and spatial design within a collaborative virtual environment. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne. |
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| Added by: Mark Grimshaw-Aagaard 14/09/2004, 09:57 | |
| Discussing linear and nonlinear audio environments, state that "relationships between individual sounds can be explored over the need to create compositional relationships for the listener." | |
| Point out difficulties ad differences in audio perspective between the player or uses of the software and the audience watching/listening away from the console. | |
| Murphy, D., & Pitt, I. (2001). Spatial sound enhancing virtual story telling. Lecture Notes in Computer Science, 2197, 20–29. |
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| Added by: Mark Grimshaw-Aagaard 08/06/2012, 14:59 | |
| "Subjects appear more willing to explore a room or space if it has associated sound. However, there is also some evidence that a subject may curtail exploration of the current area if the sounds suggest that an adjacent area may be more interesting." | |
| "Sound and in particular spatial sound is a very powerful medium for conveying a sense of immersion within a virtual environment. The various attributes of spatial sound can affect the perception of an environment, the context of a communication, and alter the meaning of a message." | |
| Re. the use of head-tracking devices feeding back into a sound spatialization engine, these help give better sound directionality and assist in sound source externalization (i.e. not having the sound inside-the-head via headphones). In this sense, nutation is mimicked. | |
| Describes the use of environmental sounds to "lure" VE users to other locations. While these distant sounds are usually at a low level, they are occasionally amplified in an attempt to entice the user to explore in the direction of the sound. These sounds (or their sources) are never visually realised. | |
| Rheingold, H. (1991). Virtual reality: The revolutionary technology of computer-generated artificial worlds -- and how it promises and threatens to transform business and society. New York: Summit Books. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/04/2005, 20:58 | |
| A description of the Convolvotron developed at NASA/Ames Laboratory in the late 1980s. Basically an early HRTF system modelling the human outer ears' perception of audio. Interesting for a mention of historical work in the positioning of sound in 3D virtual reality and early use of the term 'auditory visualization'. | |
| Truppin, A. (1992). And then there was sound: The films of Andrei Tarkovsky. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 235–248). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/01/2006, 01:08 | |
| Tarkovsky's films: "...Tarkovsky's sounds assume a great richness of meaning. ... All sounds of the world [Tarkovsky's film world] can have meaning; all sounds can be signs. ...his ambiguous sounds call out for explanation that is often withheld." Tarkovsky's sounds are very often ambiguous and/or disconcerting. | |
| In Tarkovsky's later films, audiences choose between "accepting that a sound proves the existence of an unseen object and that of believing in the existence of an invisible spiritual world. Because we posit a source for every offscreen diegetic sound, we believe in the existence of this source even when we cannot produce a viable mental image of it. We believe, although we cannot explain or prove." Truppin explains the last paradox as a fundamental of religious faith. | |
| "...offscreen sound enlarges the film space beyond the borders of the screen. We imagine not only the reality of the world seen on screen, but that of a larger world stretching on indefinitely beyond it." | |
| Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from http://www.gamestudies.org/0401/whalen/ |
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| Added by: Mark Grimshaw-Aagaard 06/12/2015, 18:50 | |
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"The metaphoric behaviour of game music is that which relates to the game as a story or world. It is the function that draws the player into the experience, giving shape and semantic meaning to that experience. When the constant background music in the classic Super Mario Brothers switches from its sunny major theme to a tense minor theme, the visible environment of the player-character has switched from broad daylight to a subterranean cavern. This switch can be seen as paradigmatic in that the game's syntagmatic structures of play are still in place – Mario must still move from left to right and progress toward the final castle. The metonymic function of game music facilitates the player's accomplishing the goals of the game. To remain with the Mario Brothers example, whatever music is currently representing the environment increases in tempo as the end of the level approaches. This teaches the player to move faster toward the level's completion, and thus enforces the syntagmatic properties of the game by pushing it forward in a contiguous progression." (van Leeuwen 1999) See also |
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| "By simultaneously enriching the worlds of videogames and assisting the player's navigating the space of videogames, music is essential to the semantic operations of a videogame." | |
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"...studies of the relationship between audial and visual elements in older media (for example, film) prove useful for understanding game music because certain basic ideas (for example, diegetic versus non-diegetic musical sound) apply to videogames." (Chion 1992; 1994) See also Curtis 1992) etc. |
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| Wolf, M. J. P. (2001). Space in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 51–75). Austin: University of Texas Press. |
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| Added by: Mark Grimshaw-Aagaard 08/10/2004, 17:10 | |
| While discussing the variety of video game representations of space, the 10th type is the three-dimensional environment (interactive). "Battlezone was also the first game to feature off-screen sound and events; sounds of the player's tank getting hit indicated an off-screen tank's attack, alerting the player to turn and fight. The first-person perspective increased the importance of off-screen space because it positioned the player within the space subjectively, as opposed to the third-person objective view in eariler games. This shift also allowed a more mature usage of off-screen space and one closer to that of cinematic off-screen space." |