By Karen Collins
In twiddling with Sound, Karen Collins examines online game sound from the player's point of view. She explores the numerous ways in which gamers engage with a game's sonic points -- which come with not just track but additionally sound results, ambient sound, discussion, and interface sounds -- either inside and outdoors of the sport. She investigates the ways in which that means is located, embodied, created, evoked, hacked, remixed, negotiated, and renegotiated via avid gamers within the house of interactive sound in video games. Drawing on disciplines that diversity from movie reviews and philosophy to psychology and computing device technology, Collins develops a thought of interactive sound adventure that distinguishes among interacting with sound and easily listening with no interacting. Her conceptual process combines perform idea (which specializes in efficient and consumptive practices round media) and embodied cognition (which holds that our figuring out of the realm is formed by means of our actual interplay with it). Collins investigates the multimodal event of sound, picture, and contact in video games; the function of interactive sound in developing an emotional adventure via immersion and identity with the sport personality; the ways that sound acts as a mediator for a number of performative actions; and embodied interactions with sound past the sport, together with machinima, chip-tunes, circuit bending, and different practices that use parts from video games in sonic performances.
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In this series of experiments, researchers found that by stroking a rubber hand in view of a participant while simultaneously stroking the participant’s real hand (hidden from view), the participant takes “ownership” over the rubber hand to the extent that they can “feel” through the rubber hand: “The effect reveals a threeway interaction between vision, touch and proprioception, and may supply evidence concerning the basis of bodily self-identification” (Botvinick and Cohen 1998, 756). Although experiments that involve the rubber-hand illusion have not used auditory feedback as an experimental condition, 42 Chapter 2 such work illustrates that the senses are integrated into the brain and that multimodal feedback affects the ways in which we understand our sense of self and other.
Murray Schafer (1969, 43–47) refers to as a schizophonic activity. Prior to the advent of recording technologies, sounds were tied to the physical objects or mechanisms that produced them, but the introduction of recording devices enabled the separation of sound from its source—in other words, the separation of sound from the image and gesture that are associated with the causality of that sound. Schafer’s terminology comes from the concatenation of the terms schizo (split) and phonic (sound), implying an anxiety or a pathological nature of the split through its terminological similarity to schizophrenia.
Cox (2008) suggest that the sounds that we dislike the most could be due to our haptic associations with those sounds: we dislike the sound of scraping fingers on a blackboard because we sense how it feels to do this as we hear the sound. In other words, sounds on their own can evoke images and have corporeal associations with their causality. Indeed, many people listen to radio drama because, like reading a book, the imagery for the story unfolds in the mind (Cazeaux 2005, 157). 3 Cazeaux draws on Merleau-Ponty to argue that our five senses are not five discrete channels to input data to the mind but, rather, that the senses operate in a synesthetic unity: we listen and simultaneously see and feel the drama.