| Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press. |
 
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| Last edited by: Mark Grimshaw-Aagaard 23/10/2023, 15:11 |
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| The concept of an acoustic arena is a powerful one particularly when the occupant has some power in shaping it. |
| Summarizes (then) current neuroscientific research about the different roles of the two hemispheres of the brain indicating that the creative functions (including music, nonverbal speech, and emotional expression) are in the right and so more-or-less separate from functions such as language and reason which are found in the left. |
| Breitsameter, S. (2003). Acoustic ecology and the new electroacoustic space of digital networks. Soundscape, 4(2), 24–30. |
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| Last edited by: Mark Grimshaw-Aagaard 06/12/2006, 10:41 |
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| Suggests that acoustic ecology may also be concerned with electroacoustic spaces. |
| Listening is a 'cultural technique'. |
| For the author, participatory listening (in the context of electroacoustic spaces) is not an active, creative participation (in the sense of contributing back to the soundscape) but is a listening engagement. |
| Droumeva, M., & Wakkary, R. (2007). AmbientSonic map: Towards a new conceptualization of sound design for games. Loading... 1(1). |
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| Added by: Mark Grimshaw-Aagaard 14/02/2008, 12:31 |
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| Game sound should be designed according to ecological principles rather than disjointed sound events and the technical literature of auditory display design will prove useful. |
| Kromand, D. 2008, October 22, Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard 24/11/2008, 11:12 |
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Debating Jørgensen's 'trans-diegetic' sound terminology: sound that crosses the barrier between diegetic and nondiegetic worlds (cf Count Basie's orchestra in Blazing Saddles at first seems nondiegetic until the hero comes across the orchestra playing in the desert at which point the music becomes diegetic.
Trans-diegesis is a short transgression of the barrier between diegetic/nondiegetic, not a breakdown.
The trans-diegetic sound transfers information to the player from the game. Two types, 'reactive sound affirming player input or as a proactive sound informing the player of an altered game state (Jørgensen 2007; 116).' |
