Views
Summary of the videoconference and further discussions : 20070904
SpatDIF? has to stay at the level of specification
-> specification is a reflection process concerning a collection of ideas - concepts - problems that you want to be able to work with
-> implementation is a laboratory to experiment with ideas/concepts (as long as you don't insist on backwards-compatibility from day 1)
== Terminology ==
- space (physical, perceptual, virtual, conceptual, compositional...)
- source (sound being an abstract point or being a body)
- motion
- trajectory
-> a survey across composers and developers is usefull/necessary
-->in progress (by Nils)
different communities are dealing with space:
- sound engineers
- abstract art
- field recordings
- live electronics
- sound artists vs. musicians
-> different contexts and background
- different symbolic representations of space (e.g. visualizing motion)
sound-space <----> spatialization (spatial audio vs. spatialized audio)
where sound design ends and where spatialization starts ?
-> as a composer, you don't (shouldn't?) think "space" afterwards...
--> There is a big overlap of sound design and spatialization techniques, applying only spatialization algorithms won't create the best results
for example working with multichannel sources (e.g. with phase decorrelation...)
don't constrain yourself with any formats, also for industrial purposes
non standard loudspeaker setup (theatre halls, installation spaces) vs. circular setup
in practical situation a perfect circular speaker setup is almost never realizable
--> other paradigm to set speakers (think about the early speaker concerts (The Acousmonium at the Groupe de Recherches Musicales [Curtis Roads et al. The Computer Music Tutorial. MIT Press, Cambridge, Massachusetts, 1996. p.454]?)
--> other paradigm of spatialisation : to use concert hall space resonance ( maybe opposed to "virtual acoustic" ) like with multidirectivity speakers ( Tim Place 's Hemisphere, Ircam 's Timée ), placing speakers in audience opposite direction ..... "excite" the physical space ..
multi-layered sound contexts (e.g. Antonio's example of Godard's soundtracks....) : having several "artificial" spaces inside of one space (e.g. room in the room, virtual walls...)
____
Multiple levels :
- Technical
- Perceptual
- Conceptual
== Control / Movement / Action / Gesture ==
Trajectories -> related to GDIF
SpatDIF? has to stay at the level of specification
-> specification is a reflection process concerning a collection of ideas - concepts - problems that you want to be able to work with
-> implementation is a laboratory to experiment with ideas/concepts (as long as you don't insist on backwards-compatibility from day 1)
== Terminology ==
- space (physical, perceptual, virtual, conceptual, compositional...)
- source (sound being an abstract point or being a body)
- motion
- trajectory
-> a survey across composers and developers is usefull/necessary
-->in progress (by Nils)
different communities are dealing with space:
- sound engineers
- abstract art
- field recordings
- live electronics
- sound artists vs. musicians
-> different contexts and background
- different symbolic representations of space (e.g. visualizing motion)
sound-space <----> spatialization (spatial audio vs. spatialized audio)
where sound design ends and where spatialization starts ?
-> as a composer, you don't (shouldn't?) think "space" afterwards...
--> There is a big overlap of sound design and spatialization techniques, applying only spatialization algorithms won't create the best results
for example working with multichannel sources (e.g. with phase decorrelation...)
don't constrain yourself with any formats, also for industrial purposes
non standard loudspeaker setup (theatre halls, installation spaces) vs. circular setup
in practical situation a perfect circular speaker setup is almost never realizable
--> other paradigm to set speakers (think about the early speaker concerts (The Acousmonium at the Groupe de Recherches Musicales [Curtis Roads et al. The Computer Music Tutorial. MIT Press, Cambridge, Massachusetts, 1996. p.454]?)
--> other paradigm of spatialisation : to use concert hall space resonance ( maybe opposed to "virtual acoustic" ) like with multidirectivity speakers ( Tim Place 's Hemisphere, Ircam 's Timée ), placing speakers in audience opposite direction ..... "excite" the physical space ..
multi-layered sound contexts (e.g. Antonio's example of Godard's soundtracks....) : having several "artificial" spaces inside of one space (e.g. room in the room, virtual walls...)
____
Multiple levels :
- Technical
- Perceptual
- Conceptual
== Control / Movement / Action / Gesture ==
Trajectories -> related to GDIF
