Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 2 of 2 Parameters |
| Back, M., & Des, D. (1996). Micro-narratives in sound design: Context and caricature in waveform manipulation. Retrieved January 7, 2008, from http://www.icad.org/web ... ICAD96/proc96/back5.htm |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 07/01/2008, 12:54 | |
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Posits elements of an auditory structure designed to impart information which may include: "CONTEXT: Where am I? STORY: What is going on? DYNAMICS: What is happening now? EXPRESSION: How does it feel? INSTRUCTION: What happens next?" |
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| Explains that caricature can help provide realism where the actual or real sound fails to impress. Uses example of door shutting and talks about layering other sounds on top and using DSP e.g. EQ, envelope-shaping and reverb/echo to provide the impression of a door shutting. | |
| Gaver, W. W. (1993). How do we hear in the world? Explorations in ecological acoustics. Ecological Psychology, 5(4), 285–313. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/04/2013, 16:39 | |
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"...material per se does not exist as for mechanical physics, but instead is separated into many other dimensions such as density, elasticity, and homegeneity. Nonetheless, people do seem to hear the material of a struck object, rather than these other properties[cite]185[/cite]." |
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| Using his simplified algorithms for modelling and synthesis of sound (simplification by discarding parts of the algorithm that have no perceptible effect, is likened by Gaver to "cartoon sounds" analogous to visual cartoons which "capture some defining features while leaving out incidental ones." | |
| Suggests that it is a mistake that acousticians and psychologists make when they assume that hearing a sound as an event requires higher and independent thought processes (because this requires memory and experience) because the sound (these people assume) does not carry such information itself. |