JAHRBUCH IMMERSIVER MEDIEN 2014 Institut für immersive Medien (Hrsg.) im Auftrag des Fachbereichs Medien der Fachhochschule Kiel zusammen mit Hermann Schmitz JAHRBUCH IMMERSIVER MEDIEN 2014 Die Deutsche Bibliothek – CIP-Einheitsaufnahme Die deutsche Bibliothek verzeichnet diese Publikation in der deutschen INHALT Nationalbibliografie; detaillierte bibliografische Daten sind im Internet unter http://dnd.ddb.de abrufbar. 0 Aaron Bradbury | Vortex – Spatial Sound Editorial 0 Patrick Rupert-Kruse | Klänge, Musik & Soundscapes. Zur Entschlüsselung auraler Präsenzen Artikel 0 Sonja Kirschall | Touching Sounds – ASMR-Videos als akustisch teletaktile Medien 0 Lars C. Grabbe | Filmontologie der phonosphärischen Präsenz. Auditive Differenzierungen zwischen Zeichenpotenzialen und Leibaffektion 0 Emilio Audissino | Film Music and Multimedia: An Immersive Experience and A Throwback to the Past 0 Christina Landbrecht | At first it’s just an empty space... Ari Benjamin Meyers› Musikinstallationen 0 Christian Hviid Mortensen | Exhibiting Radio Sound: Transforming the exhibition space into an auditorium 0 Gerriet Sharma | {kA}: keine Ahnung von Schwerkraft. Einführung in die Gebäude- Klangkomposition im (halb-)öffentlichen Raum und Bericht über eine Annäherung an den historischen Bau der Alten Gerberei in Murau, Österreich Titelbild Aaron Bradbury: Vortex. © Aaron Bradbury 2013 Bildnachweise Bei den Autoren 0 Axel Berndt | Ambiente Musik zur Vertonung immersiver interaktiver Medien Herausgeber / Editor Institut für immersive Medien (ifim) an der Fachhochschule Kiel / Hochschule für angewandte Wissenschaften Fulldome-Szene Mitherausgeber / Associate Editors Matthias Bauer (Flensburg), Knut Hartmann (Flensburg), Fabienne Liptay (München), Susanne Marschall (Tübingen), 0 Ralph Heinsohn mit Johannes Varga | Produktionsbericht THE DOORS OF PERCEPTION Klaus Sachs-Hombach (Tübingen), Jörg R. J. Schirra (Chemnitz), 0 Claire Dorweiler | KOMETENTANZ – Varianten einer Verbindung aus Fulldome und Live-Performance Jörg Schweinitz (Zürich), Eduard Thomas (Kiel), Hans Jürgen Wulff (Kiel) Redaktion / Executive Board Tobias Hochscherf (Kiel), Heidi Kjär (Kiel) Patrick Rupert-Kruse (Kiel) Rezensionen Redaktionsanschrift c/o Prof. Dr. Patrick Rupert-Kruse, Institut für immersive Medien, Fachbereich Medien, Fachhochschule Kiel, 0 Jürgen Rienow | Die 360°-Fulldome-Show DINOSAURS AT DUSK – THE ORIGINS OF FLIGHT von mirage3D Grenzstr. 3, 24149 Kiel. Tel.: 0431-2104512 0 Daniel Schäl | Spiel der Entscheidung – THE WALKING DEAD: THE GAME als emotionales Erlebnis E-Mail: [email protected] www.immersive-medien.de 0 Thomas Heuer | Next-Gen-Konsolen versprechen neue Spielkonzepte Gestaltung Nadine Schrey Druck ... 0 Autorenhinweise ISSN 1869-7178 ISBN 978-3-89472-896-0 0 Call for Papers VORTEX – SpATIAL SOUND1 Aaron Bradbury gest inspiration however is the music it is set to: «Mind Drift» by Flavio Martines. I don‹t really consider Vortex to be a music video. A very loose version of the visual elements had already formed before I heard the track and already knew the kind of music that was required. Soundcloud is one of the many streams of music I digest constantly in my infinite quest of musical discovery. I can›t actually remember how I came across the track initially but when I heard it I knew it was the music of Vortex. Music is a big inspiration behind all of the films I make. When listening to music I find it easy to feel movement and experience scenarios unfold and develop in my mind, like a conscious form of synaesthesia. «Mind Drift» instantly creates visions of fractured geometry and engine parts. It spins around and penetrates your personal space. It creates visions of a force so strong that it engulfs itself. So frame by frame I began to break down the music into all of its constituent parts then à 1 Concept Art (© Aaron Bradbury 2012) started designing and building every single musi- cal element into a machine (ill. 2). The idea for Vortex (2012) is an amalgamation of As with every project I work on, Vortex pushed many things that inspire me. Some of these things a number of technical and creative boundaries are hard to identify as they surface through the beyond what I had achieved before. It’s mastered subconscious whereas some are conscious influ- in fulldome format at 8192 x 8192 pixel resolu- ences, woven together to create a unique and tion, 60fps, in full panoramic stereoscopic 3D and abstract entity. Some of the more important inspi- has a spatial sound mix. All of these things came rations are Cold War era engines, user interfaces, with a unique set of challenges but the one I had mandatory and postage labelling and armillaries no previous experience with was spatial sound. (ill. 1) as well as artists such as Delta, Syd Mead, It’s not complicated to understand the basic Bradley G Munkowitz and Jordan Belson. The big- principles of 3D sound as it’s closer to our usual experience of sound in the world; sounds can appear to emanate from any point in space. How this is achieved however, is complicated. The for- 1 Vortex project online: luniere.com/project/vortex [15.08.2014]. mat requires mind bending concepts like wave Vortex – Spatial Sound 7 elements to define the location of that sound the track rather than just an alternative output. in space, such as the electric arc and bass buzz. This allowed Flavio to be more creative with the Another approach was to be less literal with place- individual elements he was extracting. ment and create cognitive dissonance between The idea of positioning music in 3D space what you see and where you hear it. This was used opens up new and expanding possibilities to the for the power-up sequence where the engine is musician, composer or anyone involved in immer- formed whilst spinning directly above the viewer. sive media. It’s perhaps a daunting prospect to The sound that drives the visual element is posi- think about positioning specific elements to pro- tioned a distance away from the engine and spins duce dynamic movements through the listener’s at speed around the perimeter of the sound space. space. An instrument is no longer constrained by à 3 Rene’s studio at Fraunhofer IDMT in Berlin The physical detachment of the sound from the stereo or even surround positions; it is given free- (© Aaron Bradbury 2012) visual produces an interesting sensation of uneasi- dom to move towards and away from a listener in ness or confusion, which adds to the initial shock any direction. structural elements are visual manifestations of of Vortex as it begins. For immersive media, spatial sound makes per- specific instruments or sounds within the music. Positioning musical elements from a stereo track fect sense but content creation is impeded by the One example is the electric arc that coils around into three dimensional space can change the origi- current lack of production tools, production facili- à 2 Concept Art and Design (© Aaron Bradbury 2012) the dome in time to the musical element I would nal mix to the extent that it no longer has a similar ties and spatial sound venues. On top of this, there describe as a bass buzz. The bass buzz was used feel. When Rene created a stereo conversion of an aren’t any standards for hardware or software, so field synthesis, huge arrays of speakers, bespoke to influence the shape, colour and movement of early spatial mix it sounded very different to the even if a facility does have a speaker array capable software and, of course, a spatial sound engineer. the electric arc and in turn we attached the bass original track. Some stems had to be repositioned, of playing spatial sound, it may not be able to play Fortunately I knew one of the world’s leading buzz sound to the electric arc to control the sounds made less dynamic or altered to try and retain more back the files that another facility has produced. developers of wave field synthesis, Rene Rodigast movement through space (ill. 4). The effect is that of the original composition. Certain audio effects Vortex won the «Spatial Sound Award» at Jena Full- from Fraunhofer IDMT. both the visual and audio senses work together that had been applied to musical layers in the origi- dome Festival in 2013: this remains the only place I first met Rene at the International Planetarium to convince you that the object you see and hear nal piece had to be removed to extract the indi- where it has been heard in this format. It seems Society Conference in Chicago in 2008. He has a moving around you is actually there. vidual sounds. This also posed a challenge when like a lot of work for such a small amount of peo- powerful passion for audio, specifically within the aiming to produce a similar audio experience to the ple to experience but as with most purely creative dome environment. The first of his presentations I The main task was to define what sounds should original stereo version. At some point we decided ventures, audience numbers are rarely the driving attended really got me thinking about how sound have a unique location, where that location would to treat the spatial sound mix as a new version of force behind the effort. works in the dome and highlighted its importance be and where and how it would move. One of the within immersive media. After meeting Rene and main approaches to this task was to extract sound discussing his field of work at several conferences elements from the music that apply to visual ele- and festivals, it made sense to approach him ments and then use the visual position of those regarding a spatial mix for Vortex. He was very keen to be a part of it, along with his colleague Ä 4 Bass Buzz/Electric Arc Spatial Sound Element Silvio Kuehm. (© Aaron Bradbury 2012) Rene’s studio is in Fraunhofer IDMT in Ber- lin.