Main Article Content

Authors

Literature about projection mapping as a multimedia art form is scarce and, usually, it only addresses the visual effects or discusses the technology with which to achieve projection mapping itself. Writings about the role of sound
design in projection mappings, as far as I could confirm through my academic research, are non-existent. Drawing on research in sound (music, sound effects, ambient, voice) for film, animation, and video game, in this paper I analyze how sound works in projection mapping, and the decisions I have made as a sound designer for the creation of soundtracks. This is a theoretical paper aims at providing an introduction to the literature of sound in projection mapping and to encourage further theoretical and empirical research to heighten its understanding. I will use three projection mappings: Bilbao, Tricenari Mas Guinardó and Voluntariat, for which I have worked as a sound designer and music composer as my case study, and will try to explain how the sound effects play a crucial role in eliciting emotions in projection mapping.

Pastó Cortina, R. (2019). Sound Effects and the Morphing Façade: Emotion in Sound of Projection Mapping. Anuario Electrónico De Estudios En Comunicación Social "Disertaciones", 12(2), 166–178. https://doi.org/10.12804/revistas.urosario.edu.co/disertaciones/a.6510

Altman, R. (1992). Sound space. In R. Altman (Ed.), Sound theory sound practice (pp. 46-64). New York: Routledge.

Beauchamp, R. (2005). Designing sound for animation. Burlington: Elsevier.

Brown, R. S. (1994). Overtones and undertones: reading film music. Berkeley: University of California Press.

Catanese, R. (2013). 3D architectural videomapping. Retrieved from https://www.int-arch-photogrammremote-sens-spatial-inf-sci.net/XL-5-W2/165/2013/isprsarchives-XL-5-W2-165-2013.pdf

Chion, M. (1994). Audio-vision: sound on screen. Claudia Gorbman (Trans). New York: Columbia University Press.

Cohen, A. J. (2000). Film music: perspectives from cognitive psychology. In J. Buhler, C. Flinn & D. Neumeyer (Eds.), Music and cinema (pp. 360-377). Hanover: Wesleyan University Press.

Cohen, A. J. (2001). Music as a source of emotion in film. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: theory and research (pp. 249-272). New York: Oxford University Press.

Collins, K. (2013). Playing with sound: a theory of interacting with sound and music in video games. Cambridge: The mit Press.

Cooke, M. (2008). A history of film music. New York: Cambridge University Press.

Donnelly, K. J. (2009). Saw heard: musical sound design in contemporary cinema. In W. Buckland (Ed.), Film theory and contemporary Hollywood movies (pp. 103-123). New York: Routledge.

Ekim, B. (2011). A video projection mapping conceptual design and application: Yekpare. The Turkish Online Journal of Design, Art and Communication, 1(1), 10-19. Retrieved from http://acikerisim.iku.edu.tr:8080/jspui/bitstream/11413/656/1/tojdac_v01i102.pdf

Fahlenbrach, K. (2008). Emotions in sound: audiovisual metaphors in the sound design of narrative films. Projections, 2(2), 85-103. Doi: https://doi.org/10.3167/proj.2008.020206

Flueckiger, B. (2009). Sound effects. Strategies for sound effects in film. In G. Harper, R. Doughty & J. Eisentraut (Eds.), Sound and music in film and visual media: a critical overview (pp. 151-179). London: Continuum International Publishing Group Ltd.

Gorbman, C. (1987). Unheard melodies: narrative film music. Bloomington: Indiana University Press.

Huron, D. (2002). A six-component theory of auditory-evoked emotion. In Proceedings of the 7th International Conference on Music Perception and Cognition (pp. 673-676). Sydney, Australia.

Kalinak, K. (1992). Settling the score: music and the classical Hollywood film. Madison: The University of Wisconsin Press.

Karlin, F., & Wright, R. (2004). On the track: a guide to contemporary film scoring (2nd ed.). New York: Routledge.

Prendergast, R. M. (1992). Film music: a neglected art; a critical study of music in films (2nd ed.). New York: W. W. Norton.

Schaeffer, P. (1966). Traité des objets musicaux: essai interdisciplines. Paris: Éditions du Seuil.

Serafin, S., & Serafin, G. (2004). Sound design to enhance presence in photorealistic virtual reality. Retrieved from https://smartech.gatech.edu/bitstream/handle/1853/50913/SerafinSerafin2004.pdf?sequence=1&isAllowed=y

Sonnenschein, D. (2011) Sound spheres: a model of psychoacoustic space in cinema. The New Soundtrack, 1(1), 13-27. Doi: https://doi.org/10.3366/sound.2011.0003

Tagg, P. (2004). Gestural interconversion and connotative precision. Retrieved from https://tagg.org/articles/xpdfs/filminternat0412.pdf

Tuuri, K., Mustonen, M.-S., & Pirhonen, A. (2007) Same sound - different meanings: a novel scheme for modes of listening. Retrieved from http://www.auditorysigns.com/kai/papers/Tuuri_etal_2007_Same_ssound_different_meanings.pdf

Ward, M. S. (2015). Art in noise: an embodied simulation account of cinematic sound design. In M. Coëgnarts & P. Kravanja (Eds.), Embodied cognition and cinema (pp. 155-186). Leuven: Leuven University Press.

Whittington, W. (2007). Sound design and science fiction. Austin: University of Texas Press.

Downloads

Download data is not yet available.