MPSE Wavelength

Spring 2023

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56 I M PS E . O R G alone and a victim of the "cosmic indifference of the world, the indifference of the Earth, of life, of the seasons, and the movements of the crown." (Chion and Gorbman, 2009). Together, the music and the synthesized sound effects create a cacophony of music with atonal sounds that evoke Alex's both physical and emotional pain. The abandoned cow pen, the dirty water in the cattle drinker and the cloudy weather make for a pretty grim outlook. But it is Carlos' synthesized baton sounds which really drive the impacts home. Watch the scene again with the sound muted and the scene which consists of two cuts vs Psycho's 52 cuts has lost its teeth and is now not much more interesting than watching police dash-cam footage. Both Psycho and A Clockwork Orange are examples of films in which physical violence is felt through the soundtrack. Both Bernard Herrmann and Wendy Carlos respectively showed us how violence and ultra-violence feel. Reference List Bruce R. Smith, (2004) "Coda: Talking Sound History," in Hearing History, ed. Mark M. Smith (Athens and London: University of Georgia Press, 2004) Chion, M., Gorbman, C., (2009) Film, a Sound Art, Film and Culture. Columbia University Press. Dolby Laboratories (2015). Dolby Atmos Specifications. Donaldson, L.F. (2014) Texture in film. Palgrave close readings in film and television, Palgrave Macmillan, Basingstoke; New York. Dyson, F. (2009) Sounding New Media: Immersion and Embodiment in the Arts and Culture. Berkeley; Los Angeles; London: University of California Press. French, A. S. and Torkkeli, P. H. (2009) 'Mechanoreceptors', in Squire, L. R. (ed.) Encyclopedia of Neuroscience. Oxford: Academic Press, pp. 689–695. Goodman, S., (2012) Sonic Warfare: Sound, Affect, and the Ecology of Fear, Technologies of Lived Abstraction. MIT Press. Grether, W.F., (1971) Vibration and Human Performance. Hum Factors 13, 203–216. Hagood, M. (2014) 'Unpacking a Punch: Transduction and the Sound of Combat Foley in Fight Club', Cinema Journal, 53, pp. 98–120. Ihde, D. (1976) Listening and Voice: A Phenomenology of Sound. Ohio University Press. Jasen, P.C., (2016) Low End Theory: Bass, Bodies and the Materiality of Sonic Experience. Bloomsbury Publishing. John Wiley & Sons, Incorporated, Newark, United States. LaBelle, B. (2019) Acoustic Territories, Second Edition: Sound Culture and Everyday Life. Bloomsbury Publishing. Lund, Thomas. (2020) Active Sensing and Slow Listening. 148th AES International Convention, AES Virtual Vienna 2020, 2-5 June, Vienna. Mcdermott, J. and Simoncelli, E. (2011) 'Sound Texture Perception via Statistics of the Auditory Periphery: Evidence from Sound Synthesis', Neuron, 71, pp. 926–40. Merchel, S. and Altinsoy, M. E. (2020) 'Psychophysical comparison of the auditory and tactile perception: a survey', Journal on Multimodal User Interfaces, 14(3), pp. 271–283. Mera, M., Sadoff, R. and Winters, B. (2017) The Routledge Companion to Screen Music and Sound. Taylor & Francis (Routledge Music Companions). 69 Schafer, R.M., (1993) The Soundscape: Our Sonic Environment and the Tuning of the World. Inner Traditions/Bear. Spielman, R. M., Jenkins, W. J. and Lovett, M. D. (2020) Psychology 2e. OpenStax. Wixted, J.T., Serences, J., (2018) Stevens' Handbook of Experimental Psychology and Cognitive Neuroscience, Sensation, Perception, and Attention. Frame from Psycho (1968) Frame from A Clockwork Orange (1971) Alex being beaten by his 'ex-droogies.'

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