SsoouuunnddDDDD [like the doppler effect].

Chion makes a very interesting point when he discusses how sound in cinema is "primarily vococentric. This is especially imperative when we are discussing narrative films. When I read this, it seemed to me, blatantly obvious, however I was surprised to realize that I had never actually though about out prominent this trend is. Sound design in the cinema is primarily heard in relation to its "importance," which follows:

1. Speech

2. Sound Effects

3. Score

The soundtrack of a movie has the ability to help convey a certain tone/feeling or it can also be more ambiguous that is left up to interpretation. This more abstract sound, I compare to poetry.

I also found it really interesting when he got into the technical aspects of sound, and discussed speed of perception. He discussed how the ear is more "temporarily adept" while the eyes are more "spatially adept." This is really important, because it shows us that sound actually processes audiovisual messages faster than the eyes.

This is perhaps why a flub in the audio of a film is more noticeable than a flub in the visual. For most of us, I believe that our eyes are our most dominant sense, and that is perhaps why it is so fascinating to learn that our hearing processes things faster.

AAAAAAcousticsssssss.

Acoustic ecology is the study of how humans and animals alike are affected by the sounds that surround them. These studies can be research oriented, or these ideas can be developed by "deep listening."

This reminds me of Shannon's sound addiction that I learned about in intermediate experimental. We watched films without visuals, and even composed soundscapes from everyday noises. This exercise in "deep listening" helped me a lot more than I originally thought it would.

When we did these types of exercises, I realized how much I discount sound in my everyday life. We were able to build spectacular soundscapes from the most random of sounds and put them together in a way that was extremely stimulating. I think that this is the type of deep listening that the writer is talking about, and I don't think one can truly understand it until they really exercise their ears in the way my class did in intermediate experimental.