Information Technology Reference
In-Depth Information
Thom, R. (1999). Designing a movie for sound.
Film Sound
. Retrieved February 12, 2009, from
http://filmsound.org/articles/designing_for_
sound.htm
introduced by Humberto Maturana and Francisco
Varela and describes a system organized as “a
network of processes of production (transforma-
tion and destruction) of components which: (i)
through their interactions and transformations
continuously regenerate and realize the network
of processes (relations) that produced them; and
(ii) constitute it (the machine) as a concrete unity
in space in which they (the components) exist by
specifying the topological domain of its realization
as such a network” (Maturana & Varela 1980, p.
79). The concept has been applied in several fields
such as sociology and cybernetics particularly
where it references self-organizing systems.
Demo Scene:
A computer art subculture that
specializes in producing non-interactive audio-
visual presentations that are entirely generative and
run in real-time on a computer. See for instance
http://www.demoscene.info.
Futurist Music:
Most prominently defined by
Russolo in his 1913 manifesto “Art of Noises”,
futurist music embraced noise, everyday urban
sounds, and, in particular, the sounds of industry
and war as material for musical expression.
Soundscape:
According to the original defini-
tion by R. Murray Schafer, a soundscape is “any
portion of the sonic environment regarded as a
field for study” (see glossary in Schafer, 1977).
It is characterized by a communicative and sys-
tematic relationship between sounds, listener, and
environment.
Musique Concrète:
A form of electroacous-
tic music without visible source (“acousmatic”)
which mainly uses material derived from the ma-
nipulation of recordings of found “sonic objects”.
Reduced Listening:
In the theory of Pierre
Schaeffer, reduced listening is listening to the
sound for its own sake, as a sound object, by
removing its real or supposed source and the
meaning it may convey. He describes his theory of
the “objet sonore”, including the various listening
modes, in (Schaeffer, 1966). The only substantial
English text covering Pierre Schaeffer seems to
be Chion's Audio-Vision (1994).
Tom Clancy's ghost recon: Advanced warfighter
2.
(2007). Ubisoft.
Truax, B. (2001).
Acoustic communication
. West-
port, CT: Greenwood Press.
Truppin, A. (1992). And then there was sound:
The films of Andrei Tarkovsky . In Altman, R.
(Ed.),
Sound theory sound practice
. New York:
Routledge.
Wachowski, L., & Wachowski, A. (1999).
The
matrix
. Warner Bros. Pictures.
Whittington, W. (2007).
Sound design & science
fiction
. Austin: University of Texas Press.
Williams, A. (1985). Godard's use of sound . In
Weis, E., & Belton, J. (Eds.),
Film sound: Theory
and practice
. New York: Columbia University
Press.
World of warcraft.
(2005). Blizzard.
Wurtzler, S. (1992). “She sang live, but the mi-
crophone was turned off”: The live, the recorded
and the subject of representation . In Altman, R.
(Ed.),
Sound theory sound practice
. New York:
Routledge.
Young, K. (2006). Recreating reality.
Game Sound
.
Retrieved February 13, 2009, from http://www.
gamesound.org/articles/RecreatingReality.html
KEY tErMs AND DEFINItIONs
Arduino:
An open-source electronics proto-
typing platform based on flexible, easy-to-use
hardware and software. See http://www.arduino.
cc.
Autopoiesis:
From Greek “auto” (self) and
“poiesis” (creation). The term was originally
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