Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 10 of 10 Parameters |
| Andersen, A. This is how the fantastical sound of Game Of Thrones is made. Retrieved August 13, 2014, from http://www.asoundeffect ... und-of-game-of-thrones/ |
 
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| Added by: Mark Grimshaw-Aagaard 13/08/2014, 12:46 | |
| Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/04/2006, 10:47 | |
| "If the sound design functions in mesh with the visual image, then the two parts become a complete whole and one is almost indistinguishable from the other." | |
| "...the acculturation of an audience towards certain sounds such that to maintain realism some sounds are required whether or not those sounds are actually possible." Gives an example of the 'swishing' of a blade slicing through air. While such a sound is possible, in the film it is greatly enhanced/manipulated. | |
| Aurally, "...evil takes the familiar and manipulates it..." | |
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"Largely, the sound of good is representative of the place that the character or screen thinks of as home. ... Evil is invariably signified by discordant sounds. Usually but not always of a bass register and sometimes at a higher volume that punctuates the quiet of the normality that has been depicted." See also van Leeuwen (van Leeuwen 1999, pp.92–124) |
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| Makes a distinction between purely functional sound and sound present for dramatic effect. | |
| Battier, M. (2024). Esthétique du son artificiel: Genèse des musiques électroniques. Paris: Vrin - MusicologieS. |
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| Added by: Mark Grimshaw-Aagaard 31/01/2025, 01:53 | |
| Bridgett, R. (2010). From the shadows of film sound: Cinematic production & creative process in video game audio. |
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| Added by: Deleted user Last edited by: Deleted user 01/02/2012, 14:45 | |
| Gaver, W. W. (1989). The SonicFinder, a prototype interface that uses auditory icons. Human Computer Interaction, 4(1), 67–94. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/04/2013, 16:41 | |
| Describing the choice of sound in SonicFinder: "First, the user selects the file (Figure 1 A). This is indicated both visually, by the file becoming highlighted, and aurally by the sound of an object being tapped. The type of object is conveyed by the material being tapped. In this example, the object is a file, so it makes a wooden "thunk." If it had been an application, it would have made a metal sound; a folder would have made a sharper paper-like sound; disks a hollow metal sound (like a large metal container being tapped); and the trashcan a different hollow metal sound. In the Finder, there are standard icons for folders, disks, and the trashcan, but applications and files are not distinguished by icon type. These are easily differentiated in the SonicFinder by the use of different sounding materials for their selection sounds." | |
| "Note that sound effects are not arbitrarily related to their associated events. Instead, they seem to rely on the abilities of listeners to generalize their knowledge about everyday sound-producing events to new ones, even imaginary ones involving things such as light-sabers or transporters. Windows in the everyday world don't open as the ones in the SonicFinder do, but this event does resemble others in the everyday world, such as the rapid approach or sudden expansion of an object. | |
| Hard disks use a lower frequency sound than floppies because they are larger. | |
| Main advantage of auditory icons in conjunction with the Apple desktop icons is their provision of redundant information. The provision of new information (e.g. about the size of disks) seems to be less important. | |
| Discusses conceptual mappings (events in computer world are mapped to tasks in a model world -- binary flow, gates, etc. mapped to file operations, for example, computer desktop is a conceptual mapping) and perceptual mappings (the mapping between the model world and the perceptual world -- how we interface). | |
| Grimshaw, M., & Garner, T. (2014). Embodied virtual acoustic ecologies of computer games. In K. E. Collins, B. Kapralos & H. Tessler (Eds.), The Oxford Handbook of Interactive Audio. (pp. 181–195). New York: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/05/2014, 10:08 | |
| Hug, D. (2011). New wine in new skins: Sketching the future of game sound design. In M. Grimshaw (Ed), Game sound technology and player interaction: concepts and developments. (pp. 384–415). Hershey (PA): IGI. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/05/2021, 08:37 | |
| "If the game is part of the same system as the player, the narrative world and the existential world of the player merge into one" | |
| Huiberts, S. 2011, Listen: Improving the cooperation between game designers and audio designers. Unpublished paper presented at Think Design Play: The fifth international conference of the Digital Research Association (DIGRA), Hilversum, the Netherlands. |
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| Added by: Deleted user Last edited by: Deleted user 15/01/2013, 10:51 | |
| LaBelle, B. (2006). Background noise: Perspectives on sound art. New York: Continuum. |
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| Added by: Mark Grimshaw-Aagaard 09/03/2014, 11:13 | |
| "sound is always in more than one place. If I make a sound, such as clapping my hands, we hear this sound here, between my palms at the moment of clapping, but also within the room, tucked up into the corners, and immediately reverberating back, to return to the source of the sound." | |
| "Amplifying existing sounds, fostering auditory dialogues across inside and outside, tapping into structural vibrations to expand the sonic palette of tonality, and designing listening experiences by harnessing the environmental mix of found auditory events: each of these procedures come to the fore in sound installation, blossoming more fully into the beginnings of sound art as a distinct discipline." | |
| "Xenakis's example is indispensable to any formulation of a history of sound art by forging a dynamic mix of musical and spatial elements. To appropriate and create architecture for renewed sense of listening, sound installation moves increasingly toward public space, situating the listener within a larger framework of sonic experience that is necessarily social, thereby leaving behind the singular object or space for an enlarged environmental potential." | |
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"sound makes a given space appear beyond any total viewpoint: in echoing throughout the room, my clapping describes the space from a multiplicity of perspectives and locations, for the room is here, between the space of my palms, and there, along the trajectory of sound, appearing at multiple locations within its walls, for "the sound wave arriving at the ear is the analogue of the current state of the environment, because as the wave travels, it is charged by each interaction with the environment"1."
1. Barry Truax. 1994. Acoustic Communication. Norwood, NJ: Ablex Publishing Corporation. p.15. |
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| O'Callaghan, C. (2007). Sounds. Oxford: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard 09/05/2013, 09:23 |