WORK IN PROGRESS:
SCI FI SOUND DESIGN lecture, professor Redmond:
- sound vectorization
- screen sound
- synchronisation of the senses (sound opens up this possibility)
- sound anchors, positions), so we don't have much freedom of interpretation and hear and agency to see the world.
- sound predicts, sound is story
- sound creates plot and emotional depth to characters (what is good and evil by listening to sound )
- sound cues
- sound sutures the montage
george lucas first film:
- glitch, noises of someone hitting screen, phone line noises, reverb, delay, repetition, hard effects, machine vocalisation, dystopia and post human, paranoia and technofobia, manipulation. the only sound from the real world is a bike and that is to say that this distopian future is actually realistic and could happen.
- agenda of the score
- sound is: loudness, pitch, timbre (that make the sonic texture and sound perspective)
- rhythm (beat and tempo)
- pacing and syllabus stress of speech
- rhythmic quality of sound effects
- uncanny audio vs. audio sublime
- god chords (chords outide of the expected chord progression, not 1 tonal mode, shifting keys => prfound, aetherial, shift, movement)
- Kalinak staes that moement of spectacl is achieved by increasinging volume progressively
- science fiction sounds:
- deep space
- futuristic weapons
- warfare apocalypse
- cyborg post human
transportation and time trvelled
- synthetic and electrnoic
- sentient machine
-leitmotif
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