| Clair, R. (1929). The art of sound. Retrieved September 10, 2021, from https://web.archive.org ... ne/575/art-of-sound.htm |
 
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| Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:17 |
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| For Clair, hearing clapping if one can see clapping is a redundant and unnecessary use of sound. |
| Parker, J. R., & Heerema, J. (2008). Audio interaction in computer mediated games. International Journal of Computer Games Technology, 2008 Retrieved December 31, 2007, from http://www.hindawi.com/ ... doi=10.1155/2008/178923 |
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| Added by: Mark Grimshaw-Aagaard 31/12/2007, 06:36 |
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| In multimedia narratives [i.e. virtual worlds and digital games], sound can generate more fear than can vision. If the sound source is on screen, it is probably less threatening than if it is acousmatic. This is instinctive. |
| Scruton, R. (2009). Sounds as secondary objects and pure events. In M. Nudds & C. O'Callaghan (Eds), Sounds & Perception (pp. 50–68). Oxford: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard 07/02/2014, 14:10 |
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| Scruton supports his view that sounds are separate from the objects that emit them with examples such as radio and recording -- acousmatic sound. In such a case, sounds can be grouped (streamed) together coherently without reference to their physical origin. |
| Stockburger, A. 2003, November 4–6, The game environment from an auditive perspective. Paper presented at Level Up, Utrecht Universiteit. |
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| Last edited by: Mark Grimshaw-Aagaard 15/05/2008, 10:09 |
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| 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. |
