sound, embodiment, and the experience of interactivity in video games & virtual environments
TRANSCRIPT
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Lori Landay
Professor of Cultural Studies
Berklee College of Music
SCMS13
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Innovative sound can bridge the gaps between the physical body, represented body, and imagined body in video games.
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Grand Theft Auto IV: The Battle of Gay TonyRockstar North, 2009
Do you feel the wind? Where? Why?
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Flower, thatgamecompany, 2009
Do you feel the wind? Where? Why?
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Walter Murch’s aural spectrum
http://transom.org/?page_id=7006
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Char Davies, Osmose (1994-96)
unified sound, image, action in a virtual environment
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LIMBO, Playdead, 2010
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GAPS BETWEENthe physical body of the player,
the screen body represented on the screen, perhaps by an avatar, and
the imagined body comprised of the mental image and nonconscious sensory-motor processes of the physical body and also the virtual body
Sound has the potential to bridge the points of disconnection among these embodiment perspectives in a way that image and action cannot.
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Sound effects & music in Portal 2
Dan Bruno http://cruiseelroy.net/2011/06/portal-2-music/
sound of soaring through the air after bouncing on “Aerial Faith Plate,” a sound effect that can be better understood as a musical event than a diegetic sound
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Speech as sound effects in Portal 2
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Portal 2, Valve, 2011
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“Technology mirrors our desires; interactive technologies, in particular, reflect our desire to feel engaged.”
David Rokeby, “Transforming Mirrors: Subjectivity and Control in Interactive Media,” 1996
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