Worlds of Sound.
In the first decades of the twenty-first century, 'indie' became a widespread descriptor for a gaming culture comprising developers, players, and distributors interested in creating an alternative to what was seen as a glutted, uninspired, and corporatised game market. While the indie movement is of...
| Publicado en: | Music, Sound & the Moving Image Vol. 9; no. 2; pp. 191 - 207 |
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| Autor principal: | |
| Formato: | Essay |
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Liverpool University Press / Journals
Autumn2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=112419813&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 112419813 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Autumn2015 vid: 9 iid: 2 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 112419813 10.3828/msmi.2015.13 ppf: 191 ppct: 16 formats: fmt: @attributes: type: P size: 1.1MB tig: atl: Worlds of Sound. aug: au: D'ERRICO, MICHAEL su: Interactive multimedia Art & music Sound design Games Interactive computer systems sug: subj: Interactive multimedia Art & music Sound design Games Interactive computer systems ab: In the first decades of the twenty-first century, 'indie' became a widespread descriptor for a gaming culture comprising developers, players, and distributors interested in creating an alternative to what was seen as a glutted, uninspired, and corporatised game market. While the indie movement is often argued to have facilitated a new, 'DIY' mentality in the design and practice of games and interactive media, the aesthetics and technical practices behind the culture share strong affinities to computational forms of art and music throughout the late twentieth century. This essay aligns the aesthetics and creative practices of indie game designers with traditions of 'generative' art and music from the late twentieth century. In doing so, I outline a broader musical turn that has occurred within gaming culture--one in which sound becomes a primary mechanic in the shaping of 'procedural' and generative aesthetics at the heart of various forms of digital art. Ultimately, I provide not only an account of the ways in which sound and musical design have helped to characterise the ludic interests of the indie game movement in the first decades of the twenty-first century, but also a theoretical model adequate to understand the relationship between interactive systems, musical and sonic meaning, and user experience both in games and digital platforms more broadly. pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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