Can we think beyond immersion? : an in-depth look at the categories of presence practical investigation in sound post-production
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2024
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The motivation behind this thesis and its associated research stems from a personal curiosity, driven by my role as a young practitioner in the field of sound post-production, with a particular focus on sound design and the re-recording mix stages. It is a singular idea that has directed my inquiry, a concept that has matured during the analysis of diverse audiovisual works, ultimately crystallizing into a central question explored in this research endeavor. At its core, this investigation emanates from a sense of perceptual crisis, a phenomenon that resonates deeply with our contemporary zeitgeist-a crisis characterized by the overwhelming nature of auditory experiences. This critical exploration commenced from the premise of sound's role in shaping and exacerbating a perceptual overwhelm. The study's inception, rooted in the concept of immersion (as underscored by its etymological origins), provided a foundational point for this journey. Immersion, as a constant, adapts its nature according to individual perceivers, resulting in an all-encompassing concept that has become scattered across numerous relationships and dispersed within the realm of indeterminacy. This issue arises from the intricate theoretical complexity and practical simplicity of the immersive experience. Although the sense of immersion feels natural and embodied, the most basic questions surrounding its essence prove to be exceedingly complex. However, an essential question arises: is immersion alone sufficient to encapsulate the breadth and depth of audiovisual experiences in the realm of sound? The proposal posits that immersion encompasses diverse categories and complexities that intertwine and sometimes contradict each other, leading to the use of the same term to define disparate concepts. The presented stance suggests that the term "immersion" is often misapplied, and in certain instances, "presence" may be a more appropriate descriptor. The argument put forth revolves around the idea that sustained and intense sensory immersion, with an abundance of stimuli and a lack of moments of stillness or floating, may lead to a point of submersion or sensory anhedonia. The study aims to delve into the notion of "post immersion" as proposed by Chattopadhyay (2021), which serves as an investigative tool to gain a deeper understanding of the aesthetics of immersion and site presence in sound and spatial narratives. By employing this conceptual framework, the research will explore the relationship between immersion and presence, particularly focusing on how narrative elements within sound and spatial design contribute to the overall experience. To bolster its arguments, the proposal intends to incorporate case studies and a personal model that bridge the gap between practical applications and the theoretical concepts developed. These case studies will serve as unifying examples, connecting the practical framework to the conceptual framework.
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AUDIOVISUAL, AUDIO POST PRODUCTION, SOUND DESIGN, SOUND STUDIES, MESTRADO EM PRODUÇÃO E TECNOLOGIAS DO SOM, AUDIOVISUAL, PÓS-PRODUÇÃO ÁUDIO, SONOPLASTIA, ESTUDOS DO SOM, Mestrado em Produção e Tecnologias do Som