Comments on: Dolby Atmos: What You Hear http://blog.commarts.wisc.edu/2013/04/11/dolby-atmos-what-you-hear/ Responses to Media and Culture Fri, 12 Feb 2016 19:35:04 +0000 hourly 1 https://wordpress.org/?v=4.7.5 By: Eric Dienstfrey http://blog.commarts.wisc.edu/2013/04/11/dolby-atmos-what-you-hear/comment-page-1/#comment-403522 Fri, 26 Apr 2013 02:52:18 +0000 http://blog.commarts.wisc.edu/?p=19360#comment-403522 A good point, and a fair criticism of a lot of film and media scholarship.

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By: Jonah http://blog.commarts.wisc.edu/2013/04/11/dolby-atmos-what-you-hear/comment-page-1/#comment-402407 Wed, 17 Apr 2013 04:53:53 +0000 http://blog.commarts.wisc.edu/?p=19360#comment-402407 Eric and Leo– Goes to show how much I’ve learned and forgotten. That’s a useful distinction. So the “illusion” might be that of a single sound object moving through a space (an analogy might be made to the Times Square news ribbon) rather than an actual airplane?

Of course, my bet would be that as a working hypothesis the distinction b/t cognitive and perceptual illusions simplifies messier processes in the brain, and that we’ll come to a better understanding soon enough. But I guess that’s often true.

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By: Leo http://blog.commarts.wisc.edu/2013/04/11/dolby-atmos-what-you-hear/comment-page-1/#comment-401692 Fri, 12 Apr 2013 04:05:40 +0000 http://blog.commarts.wisc.edu/?p=19360#comment-401692 I have nothing to append to your response, Eric; I just want to point out that Noel Carroll is one example of a theorist who takes the distinction between perceptual and cognitive illusion fairly seriously, for example, in his POST-THEORY contribution (if I recall correctly).

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By: Eric Dienstfrey http://blog.commarts.wisc.edu/2013/04/11/dolby-atmos-what-you-hear/comment-page-1/#comment-401673 Thu, 11 Apr 2013 21:48:26 +0000 http://blog.commarts.wisc.edu/?p=19360#comment-401673 Jonah- Thanks for the comment!

I suspect the distinction between perceptual illusions and cognitive illusions might answer your question. If the the sound is properly mixed, then the plane’s roar through the theater would constitute a perceptual illusion, much in the same way the portrayal of depth on a flat screen would constitute a perceptual illusion. A cognitive illusion, however, would occur if filmgoers were to believe that the plane is really flying over their heads. Depending on the sound — think cell phones or distant thunder –, it is quite possible that filmgoers experience momentary cognitive illusions when listening to the cinema, though obviously I am not suggesting that people need to believe there is a plane in the theater in order for the mix to provide filmgoers with an illusory experience.

So, I would agree that it is problematic to simply parrot a discourse that conflates these two definitions, but I am not doing that in my post. As for finding a better word, I think “illusion” is fine.

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By: Jonah Horwitz http://blog.commarts.wisc.edu/2013/04/11/dolby-atmos-what-you-hear/comment-page-1/#comment-401668 Thu, 11 Apr 2013 20:41:35 +0000 http://blog.commarts.wisc.edu/?p=19360#comment-401668 Eric– This is a great first stab (or preview?) of how Atmos may work in practice. I appreciate the clips a lot, too, since as someone who’s not as attuned to film sound as I should be, I often have a hard time imagining this stuff without concrete examples.

You may have used the concept of illusionism only for convenience (“creating the illusion that the plane is also traveling through the theater”) but I do wonder if there’s a better way we might explain what’s happening in these instances of panning. There’s definitively some kind of added value to the panning effect in terms of our sensory/emotional engagement with a film. Practitioners (sound designers, directors) typically explain such innovations in terms of illusionism/immersion (e.g. Cameron and Jackson’s justifications for HFR). But recreating this discourse within film studies (as in so many film theories relying on an illusion/awareness binary) seems like a mistake. Most audience members do not actually think a plane is flying overhead. How have scholars of film sound tried to explain this sort of thing without resorting to the concept of “illusion”?

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