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Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press.  
Added by: sirfragalot 12 Feb 2014 16:37:10 Europe/Copenhagen
      Because humans have an innate ability to produce sound (cf light production), "aural architecture is dynamic, reactive and enveloping." Spaces respond sonically to the human voice and sound-making but not visually.
      "An acoustic arena has both social and physical properties ... The social consequence of an acoustic arena is an acoustic community, a group of individuals who are able to hear the same sonic events."
      The concept of an acoustic arena is a powerful one particularly when the occupant has some power in shaping it.
Böhme, G. (2000). Acoustic atmospheres: A contribution to the study of ecological acoustics. Soundscape, 1(1), 14–18.  
Added by: sirfragalot 10 Oct 2006 08:30:18 Europe/Copenhagen
      From the editor's introduction to the article: ecology may be defined "as the relationship between quality of an environment and people's state-of-being inside that environment."
      "Atmospheres stand between subjects and objects, [they are] subjective, insofar as they are nothing without a discerning Subject."
      Atmospheres combine Production Aesthetics and Reception Aesthetics. "Stage design is the paradigmatic example of this approach to atmospheres [Production Aesthetics]. On the other hand, however, atmospheres may also be experienced affectively, and one can only describe their characteristics insofar as one exposes oneself to their presence and experiences them as bodily sensations [Reception Aesthetics]."
Breinbjerg, M. (2005) The aesthetic experience of sound: Staging of auditory spaces in 3D computer games. . Retrieved January 24, 2006, http://www.aestheticsofplay.org/breinbjerg.php  
Added by: sirfragalot 28 Aug 2006 13:30:54 Europe/Copenhagen
      "Adopting an ecological approach to auditory perception [in the game is a means to understanding] our natural way of listening"
Breitsameter, S. (2003). Acoustic ecology and the new electroacoustic space of digital networks. Soundscape, 4(2), 24–30.  
Last edited by: sirfragalot 06 Dec 2006 10:41:12 Europe/Copenhagen
      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.
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
      Listening to an acoustic ecology or a culture typically involves a hearing bias, a discrimination towards foreground sounds and against background noise. When listening to a culture, this reinforces "the proposition that culture is communication." This, for Carter, is a mistake.
Droumeva, M., & Wakkary, R. (2007). AmbientSonic map: Towards a new conceptualization of sound design for games. Loading... 1(1).  
Added by: sirfragalot 14 Feb 2008 12:31:46 Europe/Copenhagen
      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.
Gibson, J. J. (1966). The senses considered as perceptual systems. Boston: Houghton Mifflin.  
Last edited by: sirfragalot 26 Apr 2013 10:00:55 Europe/Copenhagen
      Distinguishes between senses/sensation and perception. The former are "qualities of experience" or "sources of conscious qualities" while the latter are "sources of knowledge" p. 47. Gibson makes a clear distinction and argues that they operate at least semi-independently: "...the pickup of stimulus information ... does not entail having sensations. Sensation is not a prerequisite of perception, and sense impressions are not the "raw data" of perception..." pp.47-48.
Hermann, T., & Ritter, H. (2004). Sound and meaning in auditory data display. Proceedings of the IEEE, 92(4), 730–741.  
Last edited by: sirfragalot 25 Jun 2013 12:29:07 Europe/Copenhagen
      "Taking a perspective motivated by ecological acoustics, we will then gradually work backward in evolutionary history to bring into view increasingly more basic constituents of auditory perception that became particularly apparent as “ basic expression,” and will connect these to more elementary dimensions of meaning, whose deepest roots ultimately can be seen in physics, reflecting very fundamental laws that connect physical and geometrical properties of our environment to sound characteristics in a rather universal manner, invariant over a wide range of conditions and time scales, so that evolution found ample occasion and time to imprint these regularities deeply into the brains of our predecessors and ourselves."
      "pitch at the extremal ends of the frequency spectrum reinforces the threatening character of intense sounds and the comforting character of weak sounds."
Kracauer, S. (1960) Dialogue and sound. . Retrieved February 13, 2014, http://analysis3.com/Di ... 60-download-w32223.html  
Last edited by: sirfragalot 13 Feb 2014 09:26:58 Europe/Copenhagen
      "The puzzling noises which the night is apt to produce attune the listener primarily to his physical environment because of their origin in some ungiven region of it."
      "...localizable sounds do not as a rule touch off conceptual reasoning, language-bound thought; rather, they share with unidentifiable noises the quality of bringing the material aspects of reality into focus."
Kress, G. (2003). Literacy in the new media age. London: Routledge.  
Last edited by: sirfragalot 11 Aug 2006 12:37:22 Europe/Copenhagen
      "Whatever is represented in speech (or to some lesser extent in writing) inevitably has to bow to the logic of time and of sequence in time. ... Human engagement with the world through speech or writing cannot escape that logic; it orders and shapes that human engagement with the world. Whatever is represented in image has to bow, equally, to the logic of space, and to the simultaneity of elements in spatial arrangements. ... 'The world narrated' is a different world to 'the world depicted and displayed'."
Kromand, D. 2008, October 22—22 Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden.  
Added by: sirfragalot 24 Nov 2008 11:12:05 Europe/Copenhagen
      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).'
Lastra, J. (1992). Reading, writing, and representing sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 65–86). New York: Routledge.  
Last edited by: sirfragalot 03 Mar 2006 14:09:52 Europe/Copenhagen
      Developing Altman's description of 1930s sound recording/representation development (spatial fidelity giving way to intelligibility): "A recording with a high degree of reflected sound, or some other indication of spatial signature, is linked to sound considered as an event, while closely-miked sound, with a relatively "contextless" spatial signature, is linked to sound considered as an intelligible structure -- as a signifying element with a larger structure."

Although this is usually aplied to speech, Lastra points out that it also applies to sound FX.
Pearsall, J. (Ed.). (1999). Concise Oxford English dictionary 10th ed. Oxford: Oxford University Press.  
Last edited by: sirfragalot 20 Jun 2006 08:11:39 Europe/Copenhagen
      Ecology: "the branch of biology concerned with the relations of organisms to one another and to their physical surroundings"
      Environment: "the surroundings or conditions in which a person, animal, or plant lives or operates"
Truax, B. (2001). Acoustic communication 2nd ed. Westport, Conn: Ablex.  
Last edited by: sirfragalot 09 Feb 2008 15:40:55 Europe/Copenhagen
      "The natural soundscape, for instance, may be heard and analyzed as a system of interrelated parts whose "acoustic ecology" reflects the natural ecological balance."
      Defines the term acoustic community "as any soundscape in which acoustic information plays a pervasive role in the lives of the inhabitants ... it is any system within which acoustic information is exchanged."
Westerkamp, H. (2000). Editorial. Soundscape, 1(1), 3–4.  
Added by: sirfragalot 17 Nov 2006 11:17:28 Europe/Copenhagen
      The acoustic ecology concerns "the relationship between soundscape and listener"
      "We are not outside the ecology ... we are always and inevitably a part of it" (quoting Gregory Bateson).
Wrightson, K. (2000). An introduction to acoustic ecology. Soundscape, 1(1), 10–13.  
Added by: sirfragalot 10 Oct 2006 08:36:59 Europe/Copenhagen
      Paraphrasing Barry Truax (2001), sound is "a mediator between listener and environment."
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