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Sound Spheres: A Model of Psychoacoustic Space in Cinema

Sound Spheres: A Model of Psychoacoustic Space in Cinema The importance of localisation of sound in our real world is explored and compared with the use of diegetic sound in film, which has been usefully codified by Michel Chion as onscreen and offscreen. To further develop the theory of filmic psychoacoustic space, the model offers six levels of sonic experience, beginning from the most inner personal sphere and expanding toward the most outer unknown sphere: I Think, I Am, I Touch, I See, I Know and I Don’t Know. Real world experiences and perceptual exercises of these spheres inform us how they can be applied to the creation of filmic stories. KEYWORDS localisation film sound SOUND LOCATION AS A PERCEPTUAL CONSTRUCT OF OUR WORLD There exists an abundance of studies on how our hearing mechanism functions to help us locate sound sources. However, little has been written on the purpose and use of auditory localisation as an integral part of our lives. The ability to identify the geography of sound in our real world serves us in various ways: The New Soundtrack 1.1 (2011): 13–27 DOI: 10.3366/sound.2011.0003 # Edinburgh University Press www.eupjournals.com/SOUND – Survival mechanism (e.g. swatting a mosquito, alert to a burglar entry, vehicle driving cues) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Sound Spheres: A Model of Psychoacoustic Space in Cinema

Sonnenschein, David
The New Soundtrack , Volume 1 (1): 13 – Mar 1, 2011
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2011.0003
Publisher site
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Abstract

The importance of localisation of sound in our real world is explored and compared with the use of diegetic sound in film, which has been usefully codified by Michel Chion as onscreen and offscreen. To further develop the theory of filmic psychoacoustic space, the model offers six levels of sonic experience, beginning from the most inner personal sphere and expanding toward the most outer unknown sphere: I Think, I Am, I Touch, I See, I Know and I Don’t Know. Real world experiences and perceptual exercises of these spheres inform us how they can be applied to the creation of filmic stories. KEYWORDS localisation film sound SOUND LOCATION AS A PERCEPTUAL CONSTRUCT OF OUR WORLD There exists an abundance of studies on how our hearing mechanism functions to help us locate sound sources. However, little has been written on the purpose and use of auditory localisation as an integral part of our lives. The ability to identify the geography of sound in our real world serves us in various ways: The New Soundtrack 1.1 (2011): 13–27 DOI: 10.3366/sound.2011.0003 # Edinburgh University Press www.eupjournals.com/SOUND – Survival mechanism (e.g. swatting a mosquito, alert to a burglar entry, vehicle driving cues)

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2011

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