| Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. |
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| Last edited by: Mark Grimshaw 09 Mar 2006 09:03:06 UTC |
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| "For the talking picture, too, is mute. The characters in it are not speaking people but speaking effigies, endowed with all the features of the pictorial, the photographic two-dimensionality, the lack of spatial depth. ... Although the sound of these words is sufficiently different from the sound of natural words, they are far from providing 'images of voices' in the same sense in which photography provides us with images of people" |
| Balázs, B. (1952) The theory of the film: Sound. January 16, 2006, http://lavender.fortune ... /575/theory-of-film.htm. |
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| Last edited by: Mark Grimshaw 27 Jan 2006 11:31:19 UTC |
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"...sound alone is not space creating."
Any sound (i.e. real sound that is recorded) always has some quality of its space recorded with it. "In this way, in the sound film, the fixed, immutable, permanent distance between spectator and actor is eliminated not only visually ... but acoustically as well. Not only as spectators, but as listeners, too, we are transferred from our seats to the space in which the events depicted on the screen are taking place." |
| "We accept seen space as real only when it contains sounds as well, for these give it the dimension of depth." |
| Chagas, P. C. (2005) Polyphony and embodiment: A critical approach to the theory of autopoiesis. Revista Transcultural de Música, 9 July 7, 2006, http://www.sibetrans.com/trans/trans9/chagas.htm. |
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| Added by: Mark Grimshaw 07 Jul 2006 11:11:38 UTC |
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| "Reverberation becomes an instrument of the deconstruction and re-construction of space" |
| Clair, R. (1929) The art of sound. January 16, 2006, http://lavender.fortune ... ne/575/art-of-sound.htm. |
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| Added by: Mark Grimshaw 20 Jun 2006 08:17:52 UTC |
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| Describes a single shot in which the camera is focussed on a face reacting to events (as described by sound) outside the screen. Clair makes the point that an equivalent to this one shot would require several shots in a silent movie. This is due "to the "unity of place" achieved through sound. Sound possesses an "economy of means" that allows it to replace image. |
| Foucault, M. (1967) Of other spaces. December 3, 2005, http://foucault.info/do ... ult.heteroTopia.en.html. |
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| Added by: Mark Grimshaw 22 Mar 2006 16:09:44 UTC |
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| Defines the term heterotopia which is an "effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality." |
| As an example of heterotopia, Foucault gives the example of a mirror. A mirror is a utopia but, because it does exist in reality, it is also a heterotopia exerting a "counteraction on the position" the viewer occupies. "...a virtual space that opens up behind the surface; I see myself there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent". |
| Grönlund, B. 1997, March 21 Urbanity: Lived space and difference. Paper presented at Urbanity & Aesthetics, Copenhagen University. |
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| Last edited by: Mark Grimshaw 25 Jan 2006 13:48:52 UTC |
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Some discussion of Lebebvre's differential space with some criteria being:
Differential space - some criteria
Dominated by users
Time is a resource
Non-quantifiable activities
Creative space for love, being, works, amenities
A place of festivity
The space of non-labour
Some degree of pluralism
Eroticized space
Space of ambiguity
Fixed, semi-fixed, movable or vacant
Situational, relational space
Compact, highly elaborated places of encounter and transition
Empty places for play and encounter - unspecified places
Spaces for minorities and the marginal
Differential space is the 3rd historical stage in Lefebvre's ontological transformation of space. |
| Johannesen, H.-L. (n.d.). Performative space: Architecture beyond media? March 21, 2006, http://www.diffus.dk/di ... designskolen/paper1.pdf. |
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| Added by: Mark Grimshaw 21 Mar 2006 12:53:46 UTC |
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| "A performative space is, ultimately, a user oriented or user required space. The inhabitant of a space is understood as a participant more than a visitor, more using the space than being in space" |
| "You have to perform to use the potential of space" |
| "The medium of immersive virtual space is not merely a conceptual space but also a physical space, due to the potential of extension and envelopment three-dimensional [sic]" |
| Kracauer, S. (1960) Dialogue and sound. January 16, 2006, http://lavender.fortune ... /dialogue-and-sound.htm. |
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| Last edited by: Mark Grimshaw 19 Feb 2006 17:27:10 UTC |
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| "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." |
| Lastra, J. (1992). Reading, writing, and representing sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 65–86). New York: Routledge. |
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| Last edited by: Mark Grimshaw 03 Mar 2006 14:09:52 UTC |
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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. |
| Lefevbre, H. (1991). The production of space D. Nicholson-Smith, Trans. Oxford: Blackwell. |
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| Added by: Mark Grimshaw 22 Mar 2006 16:07:35 UTC |
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Complex spaces can be distinguished as:
1. Isotopias -- analogous places.
2. Heterotopias -- contrasting places, prohibited places(?).
3. Utopias -- no place, the absolute, symbolic, imaginary.
See also Foucault (1967) for heterotopias. |
| Martin, R. L., Thrift, N. J., & Bennett, R. J. (Eds.). (1978). Towards the dynamic analysis of spatial systems. London: Pion. |
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| "...spatial systems are inherently unstable, prone to fluctuation and oscillation, to discontinuous shifts in behaviour and structure, and to adaptation and evolution from within" |
| Montgomery, R. (Director) (1947). Lady in the lake [Film]. USA: MGM. |
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| Added by: Mark Grimshaw 20 Jan 2006 16:40:27 UTC |
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| Part of the tag line is: "YOU and ROBERT MONTGOMERY solve a murder mystery together!" |
| Munster, A. (2006). Materializing new media: Embodiment in information aesthetics. London: University Press of New England. |
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| Added by: Mark Grimshaw 22 Mar 2006 11:51:40 UTC |
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| "the scientific or mathematical underpinnings of technological spaces and practices exert a regime of power upon the representational level at which technologies operate ... new digital technologies can be shown to be the heirs of old epistemologies and ontologies" |
| Parkes, D. N., & Thrift, N. J. (1980). Times, spaces, and places: A chronogeographic perspective. New York: John Wiley & Sons. |
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| Added by: Mark Grimshaw 30 Jun 2006 12:54:11 UTC |
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| "Locational spaces and times are outside the individual, experiential spaces and times are constructed from inside the individual" |
| Distinguish between territorial or universal space, which may be described with three dimensions, and paraspaces, which are social, cultural spaces. |
| Puterbaugh, J. (n.d.). Sonopoietic space. July 7, 2006, http://www.music.prince ... n/sonopoietic_space.htm. |
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| Added by: Mark Grimshaw 07 Jul 2006 10:58:42 UTC |
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| "Inspired by Maturana and Varela’s concept of autopoiesis, I coined the term sonopoiesis by combining the Greek sono- (sound) and poiesis (creation, production). Sonopoietic space is the space of listening that we create through the act of listening to sound." |
| "We do not hear sound as simply inhabiting physical space. Instead, we construct a space through listening" |
| "Just as we create and live in visually constructed spaces, we similarly create sonically constructed spaces. These spaces are customized by us for specific purposes and necessarily bear our imprint. We are coupled to our environment and change our responses to sounds as we interact with them" |
| "notion of space must be defined more generally, such that “space is the domain of all possible interactions of a collection of unities (simple, or composite that interact as unities) that the properties of these unities establish by specifying its dimensions” (Maturana & Varela, 1992, p.33). Unities are formed by making distinctions. And listening is simply making distinctions in sound ... These distinctions become the basis of how we record the threads of our experience, form similarities, make generalizations and build larger structures and groupings out of our experience – how we construct our sonopoietic spaces. Every time we make new distinctions we add detail and dimensions to this sonopoietic space" |
| Rebelo, P. 2003, Performing space. Unpublished paper presented at Symposium on Systems Research in the Arts: Music, Environmental Design, and the Choreography of Space. |
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| Added by: Mark Grimshaw 20 Jun 2006 08:13:55 UTC |
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| Paraphrases LeFevbre's definition of space as the inhabitant, being "a full participant, a user, a performer of space" |
| Defines sonic profile "as an internalised mapping of a soundscape – an outline describing the superimposition of various sources, events and their sounding in a space, as perceived by the listener" |
| Schafer, R. M. (1994). The Soundscape: Our sonic environment and the tuning of the world. Rochester Vt: Destiny Books. |
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| Last edited by: Mark Grimshaw 13 Jan 2011 07:22:54 UTC |
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| The definition of space by acoustic means is much more ancient than the establishment of property lines and fences" |
"...the parish is an acoustic space, cirumscribed by the range of the church bell. The church bell is a centripetal sound; it attracts and unifies the community in a social sense just as it draws man and God together."
He further defines centripetal sounds on p.56 as unifying and regulating communities. He explictly refers to sirens as centrifugal sounds on p.178. |
| "The acoustic space of a sounding object is that volume of space in which the sound can be heard. ... Modern technology has given each individual the tools to activate more acoustic space." |
| Taylor, L. N. (2003) When seams fall apart: Video game space and the player. Game Studies, 3(2) March 15, 2006, http://gamestudies.org/0302/taylor/. |
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| Added by: Mark Grimshaw 21 May 2010 10:27:57 UTC |
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| "...video game spaces are more than simply the sum of their code ― they are experiential spaces generated through code and the physics of the game engine" |
| "The very attempt to bring a player into the game space through the screen by means of a first-person point-of-view is, ironically, inconsistent because the first-person point-of-view assumes that the player herself can be caught into the structure of the game and can then be incorporated into the game space. In this way first-person perspective assumes that by enveloping the player as the player into the game space, the player becomes part of the structure of the game space" |
| "first-person games posit that the player can assume the perceptions of the player-character and then merge with the player-character through the limited perceptual apparatus afforded by first-person games" |
| "This is how most first-person point-of-view games operate, by allowing the player to function on the space, but not within the space" |
| Wolf, M. J. P. (2001). Time in the video game. In M. J. P. Wolf (Ed.), The Medium of the Video Game (pp. 78–91). Austin: University of Texas Press. |
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| Added by: Mark Grimshaw 14 Feb 2006 11:28:37 UTC |
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Talking of time indicators in film: "...grain, hiss and flicker are nondiegetic indicators of time passing. ... Since video games usually do not have the same nondiegetic indicators of passing time ... other forms of ambience are sometimes added to scenes to emphasize the potential for movement and keep the image feeling "live"."
Gives an example of ambient sound (wind) in Myst. As this movement (he's referring more to other time indicators such as fan blades etc. but I include sound 'movement' like wind) is repeated (i.e. looping sound samples), this is a form of cyclical as opposed to linear time. |
