Hi All,
Why is it that whenever I go away, really interesting discussions
explode all over surrsound??
I'm not sure that I can go along with this entirely, though, in a kind of
way, it always used to be my position. That is, until the Create Sound in
Space Fourm in 2000. I'd been discussing (and being a bit sniffy) about the
preoccupation that (at least in the perception of us Europeans) the
Americans had with synthesising the perfect trumpet tone rather than
producing exciting, new and never before heard sounds (see just about any
copy of the Computer Music Journal from that era), over a rather good
Chinese meal one night during the conference in Santa Barbara. My position
being, why waste time and resources on that when there are plenty of real
trumpets and trumpeters around? The next day, at the start of my talk, I
had to apologise to my hosts for being so disparaging. I'd had a revelation
overnight that they were doing exactly what I had been doing in my work on
Ambisonics - trying to get reality equivalence because once you can do that
(nothing is more complex than reality, right?)**, everything else that can
be done is easy(ish). So, while I would agree that Ambisonics (or wfs, or
binaural, or...) are not particularly artistically in and of themselves,
the processes you go through to get the nirvana of reality equivalence
(can) open up vast new vistas.....
Dave
** Don't fall for it - have a chuckle and think, he's just trying to stir
us up :-)
On 19 May 2014 02:33, etienne deleflie <[email protected]> wrote:
> Hi Kan,
>
> Tell me what´s the new great idea of art, inside VR, and I´ll be the first
> > director to follow it.
> >
>
> I see no great idea of art in VR. At least not currently.
>
> This question is very close the one I raise in my PhD thesis (completed
> last year) ... where I ask: What is the relationship between verisimilitude
> in sound (or VR, if you like) and composition (or art, if you like). The
> argument I develop is that the relationship is very tenuous, and that the
> two actually seem to compete and conflict (to create 'affect', in Deleuzian
> terms).
>
> In fact, I argue that the composer's attraction to VR (or ambisonics or
> whatever) is a kind of false route ... where there is the assumption that
> greater verisimilitude creates greater aesthetic engagement. I suggest that
> it might be the very opposite ... greater verisimilitude might actually
> create lesser aesthetic engagement.
>
> Actually, I think the right way to see it is that composers must engage
> with the aesthetic "idea" of verisimilitude ... rather than merely aiming
> for it.
>
> Etienne
>
>
> >
> > Everyone is like getting crazy because of the huge quantity of innocuous
> > images running on our minds today.
> > I like the way cinema is, as a collective & subjective experience on the
> > same place.
> > I just don´t want our kids to be addicted to isolation & depression any
> > more.
> > And don´t tell me it´s about us as "parents", because that´s what I´m
> > trying to state here:
> > We just can´t keep exploring or experimenting with our minds to see what
> > happens, just because we want... what?. (you tell me)
> >
> >
> > On 5/17/14, 8:30 PM, Stefan Schreiber wrote:
> >
> >> Kan Kaban wrote:
> >>
> >> On 5/17/14, 7:28 AM, Stefan Schreiber wrote:
> >>>
> >>> Kan, that was a private joke, not for the list. And the citing doesn't
> >>>> make any sense if the maybe other two mails are missing on sursound,
> >>>> because I (intentionally) sent these offlist.
> >>>>
> >>>
> >>> Sorry, it was a mistake... as VR on cinema. (maybe not for cinema a
> >>> Hollywood wants it...)
> >>>
> >>>
> >>> It is very improbably that most or even many future films will be
> >> produced in 360º form, because you lose fundamental elements like <
> >> perspective > and any < viewing selection/direction > the director would
> >> like to employ.. Film directors wouldn't know exactly what kind of the
> >> scene film watchers would chose to see, etc. IMO this is still and
> >> everywhere experimental stuff...
> >>
> >> Nevertheless, it is not up to me or you to decide what kind of concepts
> >> film directors "should" have and which not.
> >>
> >> You could say they < try > to cross cinema and VR. This might work or
> >> not. What is important is that the artistical result is convincing, not
> the
> >> technique per se. (I am not comfortable to judge anything I didn't see
> or
> >> experience myself. So I am kind of sceptical, but still open to change
> my
> >> mind. On the other hand I won't tell anybody that VR movies are
> supposed to
> >> be < the next big thing > if not a single movie exists. Fair
> enough...)
> >>
> >>
> >> Best,
> >>
> >> Stefan
> >>
> >
> > _______________________________________________
> > Sursound mailing list
> > [email protected]
> > https://mail.music.vt.edu/mailman/listinfo/sursound
> >
>
>
>
> --
> http://etiennedeleflie.net
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--
As of 1st October 2012, I have retired from the University.
These are my own views and may or may not be shared by the University
Dave Malham
Honorary Fellow, Department of Music
The University of York
York YO10 5DD
UK
'Ambisonics - Component Imaging for Audio'
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