Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 9 of 9 Parameters |
| Ballas, J. A. (1994). Delivery of information through sound. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 79–94). Reading MA: Addison-Wesley. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/04/2009, 06:34 | |
| Points out that a sound can be dissociated from its causal event unlike, for example, light/vision and that this dissociation has advantages and disadvantages. Because a sound can be representative of something other than its causal event (dissociated), sound designers need to understand the mapping of sound parameters to complex phenomena. Where no dissociation occurs, designers need to take into account sound context and listener expectations. | |
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Discussing the exclamation function of sound (designed to get listener's attention), Ballas suggest that the perception of exclamation is a function mainly of SNL ratio. However, simply raising the level of a sound to gain greater urgency is not satisfactory and urgency can be more effectively communicated in other ways: |
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| Discussing deixis type sounds which point to something (usually hidden information). Therefore, context is important (what are we pointing to in relation to the listener?) and such deictic sounds must be learnt in order to be interpreted correctly. 4 - 6 such sounds can be efficiently learnt -- if more specific deictic sounds are required, the solution would be to keep the 4 - 6 limit and supplement with visual display of the hidden information. | |
When sound functions as a simile, some property of the sound is being likened to a property existing in another domain. Correct interpretation can be improved by using commonly accepted relationships (which depend on many variables such as culture, musical training and so forth). One set of relationships might be:
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| The metaphor function of sound is an extension of the simile function and ideally should communicate so effectively that the sound enters common usage (i.e. become dead metaphors). Something that can be correctly interpreted more quickly than equivalent speech. | |
| The onomatopoeic function of sound is where one sound has been designed to imitate another sound. Listener expectancy is a major fact both in associating a sound with a probable cause and associating a [potential] cause with a probable sound. | |
| Grimshaw, M., & Walther-Hansen, M. 2015, October 7–9. The sound of the smell of my shoes. Paper presented at The 10th Audio Mostly Conference, Thessaloniki. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/11/2015, 10:46 | |
| Hardach, S. (2019). How your language reflects the senses you use. Retrieved February 27, 2019, from http://www.bbc.com/futu ... ects-the-senses-you-use |
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| Added by: Mark Grimshaw-Aagaard 27/02/2019, 11:42 | |
| Lakoff, G. (1987). Women, Fire, and Dangerous Things: What categories reveal about the mind. University of Chicago press. |
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| Added by: alexb44 Last edited by: alexb44 18/09/2025, 10:34 | |
| Lakoff, G., & Johnson, M. (2003). Metaphors we live by. London: University of Chicago. (Original work published 1980). |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/05/2026, 01:28 | |
| "Since the time of the Greeks, there has been in Western culture a tension between truth, on the one hand, and art, on the other, with art viewed as illusion and allied, via its link with poetry and theater, to the tradition of persuasive public oratory. Plato viewed poetry and rhetoric with suspicion and banned poetry from his utopian Republic because it gives no truth of its own, stirs up the emotions, and thereby blinds mankind to the real truth. Plato, typical of persuasive writers, stated his view that truth is absolute and art mere illusion by the use of a powerful rhetorical device, his Allegory of the Cave. To this day, his metaphors dominate Western philosophy, providing subtle and elegant expression for his view that truth is absolute. Aristotle, on the other hand, saw poetry as having a positive value: "It is a great thing, indeed, to make proper use of the poetic forms, ... But the greatest thing by far is to be a master of metaphor" (Poetics 1459a); "ordinary words convey only what we know already; it is from metaphor that we can best get hold of something fresh" (Rhetoric 1410b)." | |
| Locke, J. (1690). An essay concerning human understanding. 2nd ed. |
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| Added by: Mark Grimshaw-Aagaard 14/05/2021, 13:58 | |
| "How often may a man observe in himself, that whilst his mind is intently employed in the contemplation of some objects, and curiously surveying some ideas that are there, it takes no notice of impressions of sounding bodies made upon the organ of hearing, with the same alteration that uses to be for the producing the idea of sound? A sufficient impulse there may be on the organ; but it not reaching the observation of the mind, there follows no perception: and though the motion that uses to produce the idea of sound be made in the ear, yet no sound is heard. Want of sensation, in this case, is not through any defect in the organ, or that the man’s ears are less affected than at other times when he does hear: but that which uses to produce the idea, though conveyed in by the usual organ, not being taken notice of in the understanding, and so imprinting no idea in the mind, there follows no sensation." | |
| Sopory, P., & Dillard, J. P. (2002). The persuasive effects of metaphor: A meta-analysis. Human Communication Research, 28(3), 382–419. |
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| Added by: Mark Grimshaw-Aagaard 23/05/2005, 23:16 | |
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Metaphor: "A is B" where A is the target and B is the base. There are a variety of theories presented here as to what a linguistic metaphor is. |
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| Walker, R. (1987). The effects of culture, environment, age, and musical training on choices of visual metaphors for sound. Perception & Psychophysics, 42(5), 491–502. |
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| Added by: Mark Grimshaw-Aagaard 06/03/2006, 12:30 | |
| "The more complex the sound, the more diffuse and arbitrary tended to be the visual representation devised by many groups of children" | |
| "...certain types of experience (e.g. musical training) are more important influences that others (e.g., [sic] language and environment) in auditory/visual integration tasks involving frequency change and vertical visual deployment" | |
| From the experiment: "Musical training is the most important single factor in choices of visual metaphor for sounds ... Age is a factor, but of less importance. Culture and environment were found to be significant factors for one cultural group, which lived in a more isolated environment than the others" | |
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There is a Western musical-visual correlate of increasing pitch with rising vertical placement (cf. placment of notes on a staff) -- this is subjective though as there is no direct perceptual correlate between more frequency and being higher on a vertical scale. Compare this to increasing amplitude and the visual correlate of larger size. Frequency and visual vertical placement might be better discussed in terms of cross-modal integration or intersensory coordination. Intensity correlates can be termed amodal because the sensation of intensity is not specific to one modality whether that be hearing, sight or another sense. |
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| On the basis of the experiment there are indications that musical training may have an effect on other correlates than frequency with vertical placement" | |
| Walther-Hansen, M. (2019). Sound quality, language, and cognitive metaphors. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 1, (pp. 459–472). New York: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/11/2021, 11:40 |
