Abstract
You are sitting in front of a screen. The screen may be part of a digital audio work station, or it may be the screen of a laptop. You press a key and watch as the cursor moves through the waveform. You hear the sound at the same time as you see it traversed by the cursor. You decide to retrieve a sample, which you’ve stored in the computer. It’s located way up ahead of the present waveform: in a few seconds you’ve scrolled forward, claimed the sample and positioned it next to the waveform. You magnify the image, to get a better ‘look’ at the sound. You decide to insert the sample into the waveform, trying various positions. If you change your mind, nothing is lost: this is, after all, non-destructive editing.
Keywords
Visual Display Recorded Sound Digital Audio Visual Term Marshall McLuhanPreview
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Notes
- 1.Pierre Levy, ‘Toward Superlanguage’, in International Symposium on Electronic Art 94 catalogue, Helsinki: University of Art & Design, 1994, p. 10. This is an updating of the proposal made in 1977 by Jack Goody that writing is an ‘intellectual technology’ that creates a ‘different cognitive potentiality’ (The Domestication of the Savage Mind, p. 128).Google Scholar
- 2.Ken C. Pohlmann, Principles of Digital Audio, Indiana: SAMS, 1992, p. 40.Google Scholar
- 8.R. Murray Schafer, The Tuning of the World, Philadelphia: University of Pennsylvania Press, 1980, p. 90.Google Scholar