Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 15 of 15 Parameters |
| Aarseth, E. (2001). Computer game studies, year one. Game Studies, 1(1). Retrieved August 31, 2006, from http://www.gamestudies.org/0101/editorial.html |
  
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| Added by: Mark Grimshaw-Aagaard 31/08/2006, 09:49 | |
| "Games are not a kind of cinema, or literature...the extensive media differences within the field of computer games makes a traditional medium perspective almost useless" | |
| "01-02 may also be the academic year when regular graduate programs in computer game studies are offered for the first time in universities. And it might be the first time scholars and academics take computer games seriously, as a cultural field whose value is hard to overestimate." | |
| Altman, R. (1992). Introduction: Sound/history. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 113–125). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 11:56 | |
| 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 | |
| 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)." | |
| 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." | |
| 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) | |
| Atari. (1972). Pong. [Computer Game]. New York: Atari. |
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| Added by: Mark Grimshaw-Aagaard 01/09/2006, 12:58 | |
| Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 154–167). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 14:44 | |
| Claims that magnetic sound (surround) in the 1950s was the first instance of off-screen dialogue actually emanating from off-screen. Microphone placement during recording (close to the sound source rather than at the camera's subjective position) and theatre speaker placement created this effect. "The effect was decidedly theatrical ... spectacularizing the concept of voice off." | |
| Discussing the fourth (surround) sound track of 1950s' magnetic stereo recording, Belton argues that while travelling sound might have been more technically realistic (than mono from behind the screen), it drew attention to itself and so was perceived as artifice "violating the timeworn conventions of stylistic invisibility which governed Hollywood filmmaking practice and which insured that the audience's access to the events which unfolded before them would be unmediated (that is, realistic)." | |
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Discussing the battle between mono and stereo film sound in the 1950s: "Through its usage as an element of spectacle and through its identification with the genres of spectacle, stereo sound became associated for audiences not so much with greater realism as with greater artifice." He remarks later (p.160) on comments made by others that there is a comparison to the transition from B&W to colour where colour was seen by audiences as indicative of fantasy, spectacle and animation -- the opposite to B&W which signified realism. |
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| Chen, C.-Y. (1996). Early Chinese work in natural science: A re-examination of the physics of motion, acoustics, astronomy and scientific thoughts. Hong Kong: Hong Kong University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/02/2016, 15:34 | |
| "In Chinese civilization, acoustics share with astronomy the distinction of being the first two branches of early studies of nature that received official recognition. Together with astronomy, acoustics occupied a unique position (such as Lü-Lì Zhì) in annals and official historical records throughout the ancient history of China. Literary records of work in acoustics go back as far as those in astronomy. This is not unexpected since acoustics, like astronomy, has the distinction of being one of the earliest fields in natural science to first establish a relationship with mathematics." | |
| Collins, K. E. Video games audio. Retrieved November 19, 2003, from http://www.dullien-inc. ... llins/texts/vgaudio.pdf |
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| Added by: Mark Grimshaw-Aagaard 09/09/2004, 20:50 | |
| Ďurovičová, N. (1992). Translating America: The Hollywood multilinguals 1929-1933. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 138–153). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/10/2006, 12:00 | |
| Kent, S. L. (2001). The ultimate history of video games: From pong to pokémon -- the story behind the craze that touched our lives and changed the world. Prima Publishing. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/11/2004, 13:21 | |
| 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." | |
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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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| 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. | |
| Semiotic signs (indexical signs apparently) can be used to trick and hoax people. | |
| Playstation sound clips: Audio bites and quotes on entertonement. (2009). Retrieved March 20, 2009, from http://www.entertonemen ... ctions/9509/Playstation |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/03/2009, 04:25 | |
| Poole, S. (2000). Trigger happy: Videogames and the entertainment revolution. New York: Arcade. |
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| Added by: Mark Grimshaw-Aagaard 03/07/2021, 09:23 | |
| "it is lack of coherence rather than unrealism which ruins a gameplaying experience." | |
| Claims that first person games, compared to third person games, are "almost always less symbolically rich." This is due to the "artificially narrow view angle" in first person games and their perspective viewpoint that make depth judgement difficult. "...symbolic interoperation through space is severely limited." | |
| "It is one of the fascinations of videogames as a form, indeed, that they constitute a kaleidoscopic, prestissimo exercise in semiotics, which is the ever-changing interaction of signs." | |
| Claims "films have stolen even more brazenly from videogames' hyperkinetic grammar (the exaggerated sound effects[)]..." | |
| Bemoaning the lack of audio experimentation and the division between audio design for fantasy worlds and 'realism/authenticity': "Surely, if videogame developers were to experiment, say, with weird and unexpected sound effects to accompany supposedly "realistic" visual action, this might open up new avenues of strangeness and even comedy -- the amusing disjunction of small action with epic sound, say -- to future digital experiences." Also makes a distinction between decorative and functional sound design. | |
| Talking of videogames and cinema: "...deployment of the audio arts cannot always follow similar lines in the two media." | |
| In a brief discussion entitled 'The user illusion' on attempts to create an illusion of reality in 3D games, no mention is made of the benefits audio can bring to this illusion. | |
| The more realistic a character's movements may be, the more frustrated a player may become that the character cannot complete other realistic, and therefore to be expected, movements. | |
| Snow, B. (2009). Realistic game audio has us pining for beeps of yesteryear. ars technica, Retrieved March 20, 2009, from http://arstechnica.com/ ... c-punch-to-the-face.ars |
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| Added by: Mark Grimshaw-Aagaard 20/03/2009, 04:39 | |
| A quote from Scott Steinberg: "Modern titles accurately replicate recognizable sounds such as gunfire or screeching tires,". | |
| Super Nintendo sound clips: Audio bites and quotes on entertonement. (2009). Retrieved March 20, 2009, from http://www.entertonemen ... ons/1871/Super-Nintendo |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/03/2009, 04:25 | |
| Williams, A. (1992). Historical and theoretical issues in the coming of recorded sound to the cinema. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 126–137). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 12:45 |