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Sound design: an applied, experimental framework to study the perception of everyday sounds

Sound design: an applied, experimental framework to study the perception of everyday sounds Mutations in late 20th-century sound design have transformed it from an empirical know-how into a full-fledged research field, with applications in the domain of everyday sound perception. This evolution leads us to propose an updated definition and a new description of the sound design process. Our updated definition, namely `making intentions audible', is based on two types of intentions, one, essential, of function, and the other of form. We describe here three types of intentions of function, able to communicate information through an artifact. We then give a new description of the overall sound design process, as a combination of three steps (analysing, creating and testing), which articulate sound perception and sound design. Our first claim here is that the sound design process should be informed by knowledge, research and exploration of everyday sound perception; several industrial examples thereof will be presented. Our second claim is that sound design should be used to inform everyday sound perception research, both by suggesting new informative experiments and raising new methodological issues, ranging from sound design tools to The New Soundtrack 4.2 (2014): 103­121 DOI: 10.3366/sound.2014.0057 # Edinburgh University Press and the Contributors www.euppublishing.com/SOUND KEYWORDS sound design sound perception psychoacoustics applied http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Sound design: an applied, experimental framework to study the perception of everyday sounds

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2014.0057
Publisher site
See Article on Publisher Site

Abstract

Mutations in late 20th-century sound design have transformed it from an empirical know-how into a full-fledged research field, with applications in the domain of everyday sound perception. This evolution leads us to propose an updated definition and a new description of the sound design process. Our updated definition, namely `making intentions audible', is based on two types of intentions, one, essential, of function, and the other of form. We describe here three types of intentions of function, able to communicate information through an artifact. We then give a new description of the overall sound design process, as a combination of three steps (analysing, creating and testing), which articulate sound perception and sound design. Our first claim here is that the sound design process should be informed by knowledge, research and exploration of everyday sound perception; several industrial examples thereof will be presented. Our second claim is that sound design should be used to inform everyday sound perception research, both by suggesting new informative experiments and raising new methodological issues, ranging from sound design tools to The New Soundtrack 4.2 (2014): 103­121 DOI: 10.3366/sound.2014.0057 # Edinburgh University Press and the Contributors www.euppublishing.com/SOUND KEYWORDS sound design sound perception psychoacoustics applied

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2014

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