narrativeworkshopwiki / Space, sound and the peacocks
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peacocks - Helena Barbas Homepage Workshop outline
Narratologically, the study of space is by norm one of the How to use the wiki last aspects to be considered Bios as usually understood as not much relevant. Self and Social Identity Interactive digital narrative – and in particular games – Structure and Suspense has imposed a turnaround in some priorities, and space Space and Sound became recognized as fundamental to the Analytical resources development of any story. Oldton tries to explore this Educational resources new approach, giving space a primordial role in the SandBox narrative creation. In a way, it put to use some strategies Photos from the Event of creative writing exercises; might have a predecessor in Italo Calvino’s Il castello dei destini incrociati (1973) – The Castle of Crossed Destinies. Both these examples – Oldton and The Castle of Crossed Destinies – among other things play with the human need to make sense out of the fragmentary (see, i.e., Marthe Robert – Roman des origines et origines du roman), to connect any scattered episodes, giving them a meaning just because they appear one after the other, if for nothing else.
http://narrativeworkshopwiki.pbwiki.com/Space%2C+sound+and+the+peacocks (1 of 5) [14-04-2008 05:51:55]
narrativeworkshopwiki / Space, sound and the peacocks
It is this process that lies also behind «Virtual Storytelling». And the construction of all the referred narratives, in last instance, is inspired by the respective title, some text that gives a hint to the reader/user/observer. In what concerns sound, in traditional narrative it is reproduced by a large range of strategies, from onomatopoeia to direct reference to known music titles. It exists and subsists mainly through the reader’s personal experience. There is a poem by Wallace Stevens – «Domination of Black»: Out of the window, I saw how the planets gathered Like the leaves themselves Turning in the wind. I saw how the night came, Came striding like the colour of the heavy hemlocks I felt afraid. And I remembered the cry of the peacocks.
If never heard before, anyone can imagine the sound made by these birds. But the poem only gets its full dimension of cosmic anguish if the reader has heard the shriek of the peacocks. In interactive digital narrative sound can be easily reproduced to illustrate or accompany the images or text enriching their meaning. However, its main objective would have to be to contribute with another instance of signification, in equal terms. In a real time/real world situation the sound effects can get more autonomous and be used in a more complex way. - there can be the sounds associated with one particular spot, triggered by the presence of the user; they can be heard by everyone else in the vicinities, or not; - these sounds could be always different, providing different narrative experiences; - the occurrence of one and same episode related with one specific spot can change depending on the sound associated with it. In example: a) the sudden noise of running horses b) the blast of a storm c) a child laughing http://narrativeworkshopwiki.pbwiki.com/Space%2C+sound+and+the+peacocks (2 of 5) [14-04-2008 05:51:55]
narrativeworkshopwiki / Space, sound and the peacocks
- in a particular situation where the story is being build by the user, these diverse sounds would give different meanings to the episode experienced, tainting it with different kinds of emotions, actually changing the narrative. The problem with sound is physiological. It affects directly the reptile brain – the most primitive cerebral zone, directly associated with primary emotions. It has to travel to the primate brain to be processed, and rationalized. (double) exercise - ask the participants to bring 5 (post)cards randomly collected around town (advertisements for shows, restaurant adds, sights, etc.); - ask them to indicate their favourite song, and the song they hate the most (any song) 1) ask them to build a story retracing the route taken to collect the cards; 2) shuffle the cards – reorganize them, and recreate another story; etc. 3) try to associate the cards following the «instructions» given by the music (with or without lyrics) they like the most; do the same with the music they detest;
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work of Italo Calvino whose work involves the self-conscious construction of
http://narrativeworkshopwiki.pbwiki.com/Space%2C+sound+and+the+peacocks (3 of 5) [14-04-2008 05:51:55]
narrativeworkshopwiki / Space, sound and the peacocks narrative possibilities and their evaluation within the same text. The crossreferences to creative writing are also productive. With respect to sound, I agree that least work in narrative may have been done in this domain. However, the prevalence of pop videos is such that viewers are used to trying to make connections between sound and Anonymous: substance. However, sometimes music can be disruptive. I wonder too if hearing the 'real' sound should be privileged over the evocation of sound and whether seeing a real image should be privileged over
http://narrativeworkshopwiki.pbwiki.com/Space%2C+sound+and+the+peacocks (4 of 5) [14-04-2008 05:51:55]
narrativeworkshopwiki / Space, sound and the peacocks an evocation of image, as in poetry, for example. The materiality of sound and image realized in their particularity can close off imaginative possibilities open to readers of printed text where they must 'translate' the verbal into the visual and/or acoustic. Many thanks for your interesting contribution (Fiona Doloughan). â—?
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http://narrativeworkshopwiki.pbwiki.com/Space%2C+sound+and+the+peacocks (5 of 5) [14-04-2008 05:51:55]