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Carter, P. (2004). Ambiguous traces, mishearing, and auditory space. In V. Erlmann (Ed.), Hearing Cultures: Essays on Sound Listening and Modernity (pp. 43–63). Oxford: Berg.  
Added by: sirfragalot 20 Dec 2007 17:14:31 Europe/Copenhagen
      "...making sound recordings involves a poetics of performance reflecting the character and limitations of the technology."
Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory perception. Ecological Psychology, 5(1), 1–29.  
Last edited by: sirfragalot 14 Oct 2008 00:12:13 Europe/Copenhagen
      Notes that sound FX CDs usually categorize by context although there is usually some further description of sound objects' hierarchy and physical properties. "A hierarchical framework that describes sounds' attributes and dimensions thus seems more likely to be generative, to delineate a space of possible sounds, rather than context-based classifications."


A simple hierarchy might be:


while a more complex hierarchy might be:


Notes that his preliminary categorisation into solid, liquid and gaseous sound does not cover all eventualities. What about fire?
Thompson, K., & Bordwell, D. (2003). Film history: An introduction 2nd ed. New York: McGraw-Hill.  
Added by: sirfragalot 16 Feb 2006 09:46:05 Europe/Copenhagen
      The ability to record then mix sound to film at a later date was increasingly possible from 1931 onwards.
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