Sound Research WIKINDX
Sound Research WIKINDX |
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| Stockburger, A. 2003, November 4–6. The game environment from an auditive perspective. Paper presented at Level Up, Utrecht Universiteit. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/05/2008, 10:09 | |
| In addition to spatial representation, sound serves "to inform and give feedback, to set the mood, rhythm and pace, and to convey the narrative." | |
| "...it is precisely the dynamic relation between material and program that separates sound practice in a computer game from other [audiovisual] media". | |
| When discussing real-time creation of spatial signatures simulating various acoustic spaces, "[T]he simulation process literally turns the relationship between source and surrounding, as observed by Rick Altman on its head. The user follows an inductive process from isolated sound to an assumption about the surrounding space." | |
| "The kinaesthetic control over the acousmatisation and visualisation of sound objects in the game environment is a key factor in creating unique spatial experiences when playing computer games." | |
| Promotes the terms user environment and game environment. Differentiates between sounds originating from the user's environment (bedroom etc.) or hardware mediating the sound (speakers, headphones etc.) and sounds originating from the game. | |
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Discusses the notion of a 'sound object' and its original meaning as coined by the composer Pierre Schaeffer in 1966. Schaeffer proposed reduced listening to describe listening to the physical and perceptual properties of sound devoid of semantic meaning. Stockburger makes the point that while such a notion is useful when analyzing game audio, semantic properties of sound are used when the game player constructs relationships between the audio and visual material presented. |
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The analysis of sound by use in Metal Gear Solid 2 is: Speech sound objects. Effect sound objects. Zone sound objects. Score sound objects (musical score). Interface sound objects. |
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| Takes up Christian Metz's point that there is no such thing as off-screen sound as opposed to on-screen sound and that sound has been conceptualized by technicians in terms relating to the visual. | |
| Acousmatic is a Pythagorean term that describes the distance between the point of hearing and the point of origin of sound, specifically to the distance separating disciples from an intoning priest hidden behind a curtain. It later became a part of the electro-acoustic and Musique Concrète tradition in its first sense above. Michel Chion uses it, and transforms its meaning somewhat, to describe particular relationships between sound and vision in film. |