Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 14 of 14 Parameters |
| Altman, R. (Ed.). (1992). Sound theory sound practice. New York: Routledge. |
 
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| Added by: Mark Grimshaw-Aagaard 14/12/2004, 20:18 | |
| 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 | |
| Bryce, J., & Rutter, J. (2002). Spectacle of the deathmatch: Character and narrative in first-person shooters. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 66–80). London: Wallflower Press. |
 
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| Added by: Mark Grimshaw-Aagaard 23/09/2004, 14:59 | |
| Talking of Doom: "The utilisation of graphic and audio production techniques in the creation of atmospheric game environments adds to the visceral reaction and to the stimulation provided by the spectacle presented by the game." | |
| "In spectacular media narrative offers a brief rationale on which to hang visceral pleasures rather than the driving engine of the text." (sic) | |
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Asking how important realism is to gaming, paraphrases Anna Warm: "...playability and pace were more important to gamers' enjoyment than realism or stunning graphics." "Demands for realism in game environments are likely to be secondary to the requirement for spectacle as the backdrop for competitive gameplay." |
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| Carlsson, A. (2010). Power users and retro puppets: A critical study of the methods and motivations in chipmusic. Unpublished thesis master's, Lund University. |
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| Added by: Deleted user 13/02/2012, 15:29 | |
| Darley, A. (2000). Visual digital culture: Surface play and spectacle in new media genres. London: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 05/11/2006, 10:59 | |
| "They lack the symbolic depth and representational complexity of earlier forms, appearing by contrast to work within a drastically reduced field of meaning. They are direct and one-dimensional, about little, other than their ability to commandeer the sight and the senses." | |
| Makes the case that narrative cinema in the early C20th. supplanted the early cinema as spectacle which was derived from vaudeville, circus, amusement parks, dioramas etc.: "...the marvellous gives way to realism and characterisation." Darley gives no reason for this. | |
| Talking of digital media (including games) and arguing that they emphasize spectacle over semantic meaning: "They do not propose spectators who are bent on interpretation, or who are looking for semantic resonance. The activity mobilised in this instance is not primarily intellectual, not reflective or interpretative in character, but rather sensual and diverting in other ways." | |
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Quoting Jean Baudrillard, Simulations, New York: Semiotext(e), 2003: "...no contemplation is possible. ... Montage and codification demand, in effect, that the receiver construe and decode by observing the same procedure whereby the work was assembled. The reading of the message is then only a perceptual examination of the code." (119-120). |
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| 1995 saw the release of "the first feature-length computer synthesized film Toy Story". | |
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Quoting Gene Youngblood (Youngblood 1970, p.206): ""If the visual subsystems exist today, it is folly to assume that the computing hardware won't exist tomorrow. The notion of 'reality' will be utterly and finally obscured when we reach that point ... [of generating] totally convincing reality within the information processing system ... We're entering a Mythic age of electronic realities that exist only on a metaphysical plane."" |
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| Claims that the idea of producing realism has dominated the computer image industry/research since the late 1970s. Realism is defined as the degree of resemblance to real-world objects with, for images, photography being the yardstick. | |
| Argues that computer generated images, as they do not involve recording, are iconic rather than indexical in the Peircian sense -- this despite any attempt at photo-realism on the part of the animators. | |
| Grieb, M. (2002). Run lara run. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 157–170). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 04/10/2004, 17:01 | |
| Kirkpatrick, G. (2011). Aesthetic theory and the video game. Manchester: Manchester University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/10/2015, 10:58 | |
| Klimek, M. P. (1992). Imagining the sound(s) of Shakespeare: Sound and adaptation. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 204–216). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 01/11/2004, 10:44 | |
| Knakkergaard, M. (2014). The music that’s not there. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 392–404). New York: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard 18/01/2014, 12:09 | |
| Paul, L. J. 2003, March 6–8, Game audio: Coding vs. aesthetics. Unpublished paper presented at Game Developers' Conference. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 19/06/2008, 09:05 | |
| Seiça, M., Roque, L., Martins, P., & Cardoso, F. A. (2023). An interdisciplinary journey towards an aesthetics of sonification experience. Journal of Multimodal User Interfaces, 17, 263–284. |
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| Added by: Mark Grimshaw-Aagaard 27/11/2023, 09:37 | |
| Sloboda, J. A., & Juslin, P. N. (2002). Psychological perspectives on music and emotion. In P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research. (pp. 71–104). Oxford: Oxford University Press. (Original work published 2001). |
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| Added by: Mark Grimshaw-Aagaard 01/11/2010, 02:55 | |
| Description of vitality affects that are human feelings or qualities related to intensity, shape, contour and movement but that are not emotions themselves. They can occur concurrently with emotions or in their absence and are common to all types of expression. | |
| 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. | |
| "...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." | |
| 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. | |
| Wilson, A. Aesthesis and perceptronium: On the entanglement of sensation, cognition, and matter. Minneapolis: University of Minnesota Press. |
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| Added by: Mark Grimshaw-Aagaard 18/11/2021, 11:12 | |
| "Knowledge has revealed itself to be formally irreducible to the simple events of empirical experience: from within the proposition, we cannot reach the outside to which it would seem to refer, but go infinitely from sign to sign, belief to belief, proposition to proposition." | |
| "The pre-Socratics, notably Parmenides, founded philosophy as an exercise in the mistrust of experience. The history of knowledge reads as a progressive questioning of previous assumptions about reality. From the depths of our organismic origins, evolution committed us to an unexamined naïve realism: as organism, we have to believe that this event follows that one; we have to trace effects to their causes in order to survive for any length of time in the environment, in order to escape our predators and obtains means of sustenance. But the philosophical attitude and the scientific reason that is its extension derive from a critique of these evolutionarily conditioned assumptions about reality." | |
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Think of film and its discrete images melding into a continuous stream. Paraphrasing Leibniz and his ideas of the confused-distinct spectrum of knowledge (as opposed to the obscure-clear spectrum):
"It is the indistinction that produces the image we see as we experience a film. Thus, the property of confusion is essential to the experience itself; the distinct images, those little perceptions, need to synthesize and integrate into a unified perception in order for that experience to occur. Thus, the experience is instrincsically indistinct, because in order to be that experience, it must maintain its characteristic synthetic unity, which depends on the confusion of its parts" (22). "An indistinct perception is therefore, in some sense, real: it exists independently of the agent's capacities in the specific sense that no effort of cognition will render it distinct without changing the character of the perception in question. . . . Those aspects of the world that escape the countability of individuality reveal the aesthetic underpinnings of individuality" (23). |