Aesthetics - Revision history

ValterAlves at 22:03, 25 August 2012

2012-08-25T22:03:10Z

ValterAlves at 21:58, 25 August 2012

2012-08-25T21:58:31Z

ValterAlves at 21:55, 25 August 2012

2012-08-25T21:55:41Z

ValterAlves at 21:52, 25 August 2012

2012-08-25T21:52:41Z

ValterAlves at 21:48, 25 August 2012

2012-08-25T21:48:29Z

ValterAlves at 20:12, 24 August 2012

2012-08-24T20:12:14Z

ValterAlves at 19:01, 24 August 2012

2012-08-24T19:01:36Z

ValterAlves at 18:51, 24 August 2012

2012-08-24T18:51:03Z

ValterAlves at 01:29, 23 July 2012

2012-07-23T01:29:51Z

ValterAlves at 18:08, 16 July 2012

2012-07-16T18:08:09Z

@@ Line 29: / Line 29: @@
 [http://audiovisuality.au.dk/fileadmin/www.audiovisuality.au.dk/Roux-Girard_ProposalAudio-Visuality.pdf Towards Understanding the Audio Aesthetics of Videogames: Genre, by Guillaume Roux-Girard]<br />
 "The Value of Aesthetics" in Jesse Schell <ref name="Schell" />, p.347<br />
-<ref name="TobinAndInfamous"/>
+Amon Tobin and the Music of "InFamous"<ref name="TobinAndInfamous"/>
 |showrefs=1
 }}

@@ Line 28: / Line 28: @@
 [http://www.videogameaudio.com/Gamasutra-Jun2006/Gamasutra-EstablishingAnAesthetic-BridgettPaul-Jun2006.pdf Establishing an Aesthetic in Next Generation Sound Design, by Rob Bridgett and Leonard Paul, 2006]<br />
 [http://audiovisuality.au.dk/fileadmin/www.audiovisuality.au.dk/Roux-Girard_ProposalAudio-Visuality.pdf Towards Understanding the Audio Aesthetics of Videogames: Genre, by Guillaume Roux-Girard]<br />
-"The Value of Aesthetics" in Jesse Schell <ref name="Schell" />, p.347
+"The Value of Aesthetics" in Jesse Schell <ref name="Schell" />, p.347<br />
- <ref name="TobinAndInfamous"/>
+<ref name="TobinAndInfamous"/>
 |showrefs=1
 }}

@@ Line 20: / Line 20: @@
 | ex2=<mt p="Foley Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt>
 | ex3=<mt p="Ambiance" g="Limbo" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex4=<mt p="Aesthetics" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}">See references below, on to the aesthetic decisions <ref name="TobinAndInfamous"/> </mt>
+| ex4=<mt p="Aesthetics" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}">See references below, on to the aesthetic decisions.</mt>
 | ex5=<mt p="Music" g="PBWinterbottom" altg="The Misadventures of P.B. Winterbottom" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Aesthetics" g="Half Life 2" altg="Half-Life 2" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
@@ Line 29: / Line 29: @@
 [http://audiovisuality.au.dk/fileadmin/www.audiovisuality.au.dk/Roux-Girard_ProposalAudio-Visuality.pdf Towards Understanding the Audio Aesthetics of Videogames: Genre, by Guillaume Roux-Girard]<br />
 "The Value of Aesthetics" in Jesse Schell <ref name="Schell" />, p.347
 |showrefs=1
 }}

@@ Line 20: / Line 20: @@
 | ex2=<mt p="Foley Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt>
 | ex3=<mt p="Ambiance" g="Limbo" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex4=<mt p="Aesthetics" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}">See references below, on to the aesthetic decisions<ref name="TobinAndInfamous"/></mt>
+| ex4=<mt p="Aesthetics" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}">See references below, on to the aesthetic decisions <ref name="TobinAndInfamous"/> </mt>
 | ex5=<mt p="Music" g="PBWinterbottom" altg="The Misadventures of P.B. Winterbottom" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Aesthetics" g="Half Life 2" altg="Half-Life 2" w="{{R4by3W}}" h="{{R4by3H}}"></mt>

@@ Line 20: / Line 20: @@
 | ex2=<mt p="Foley Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt>
 | ex3=<mt p="Ambiance" g="Limbo" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex4=<mt p="Aesthetics" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}">See references below, on to the aesthetic decisions</mt>
+| ex4=<mt p="Aesthetics" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}">See references below, on to the aesthetic decisions<ref name="TobinAndInfamous"/></mt>
 | ex5=<mt p="Music" g="PBWinterbottom" altg="The Misadventures of P.B. Winterbottom" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Aesthetics" g="Half Life 2" altg="Half-Life 2" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
@@ Line 29: / Line 29: @@
 [http://audiovisuality.au.dk/fileadmin/www.audiovisuality.au.dk/Roux-Girard_ProposalAudio-Visuality.pdf Towards Understanding the Audio Aesthetics of Videogames: Genre, by Guillaume Roux-Girard]<br />
 "The Value of Aesthetics" in Jesse Schell <ref name="Schell" />, p.347
 |showrefs=1
 }}

@@ Line 17: / Line 17: @@
 purpose). [[Aesthetics|Aesthetical]] decisions may be based on a multitude of motivations. They usually convey an artistic option and may serve the intention to create an association to a context (such as time, place, technology, culture, ...), support a mood (by being dark, cartoonish, childish, silent, intense, …), explore a particular approach to the composition of sounds being used (minimalist, subjective, musical, non-musical, realistic, …), etc.
 | examples=
-| ex1=<mt p="Aesthetics" g="Bioshock" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex1=<mt p="Aesthetics" g="Bioshock" altg="BioShock" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex2=<mt p="Foley Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt>
 | ex3=<mt p="Ambiance" g="Limbo" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

@@ Line 12: / Line 12: @@
 | v20rel1=[[Acoustic Ecology]]<br>
 | description=
-[[Aesthetics]], in the scope, refers to the qualities of the sounds used in a particular design, namely the artistic
+[[Aesthetics]], in the scope, refers to the qualities of the sounds used in a particular design, namely the artistic qualities. Defining the sound  [[Aesthetics]]  in a game implies, for instance, that all sounds share the common characteristics inherent to such [[Aesthetics]]. Being so, it augments the coherency of particular decisions. In that vein, it may call for a study on the [[Acoustic Ecology]] of the game.
 qualities. Defining the sound  [[Aesthetics]]  in a game implies, for instance, that all sounds share the common
 characteristics inherent to such [[Aesthetics]]. Being so, it augments the coherency of particular decisions. In that
 vein, it may call for a study on the [[Acoustic Ecology]] of the game.
 The [[Aesthetics]] of sound can reinforce that of the other elements in the game (as it can defy it, should that be the
-purpose).  [[Aesthetical|Aesthetics]] decisions may be based on a multitude of motivations. They usually convey an artistic option
+purpose). [[Aesthetics|Aesthetical]] decisions may be based on a multitude of motivations. They usually convey an artistic option and may serve the intention to create an association to a context (such as time, place, technology, culture, ...), support a mood (by being dark, cartoonish, childish, silent, intense, …), explore a particular approach to the composition of sounds being used (minimalist, subjective, musical, non-musical, realistic, …), etc.
 and may serve the intention to create an association to a context (such as time, place, technology, culture, ...),
 support a mood (by being dark, cartoonish, childish, silent, intense, …), explore a particular approach to the
 composition of sounds being used (minimalist, subjective, musical, non-musical, realistic, …), etc.
 | examples=
 | ex1=<mt p="Aesthetics" g="Bioshock" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

@@ Line 9: / Line 9: @@
 | cardpresentation=
 | screenshots=
-| v20rel-tag1=Context:<br>
+| v20rel-tag1=Calls for:<br>
 | v20rel1=[[Acoustic Ecology]]<br>
 | description=