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Themesicon: navigation pathSound and Imageicon: navigation pathAudiovisions
Nouvelle Vague (Godard, Jean-Luc)Koan (SSEYO)

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the motto went. It was not until the 1970s that directors from the ‹New Hollywood› began to give sounds a fundamental and aesthetically independent role, e.g. in films such as «Star Wars» (George Lucas, 1977) or «Apocalypse Now» (Francis Ford Coppola, 1979), in which sounds—in part invented—were ‹composed› by sound designers in elaborate and time-consuming processes. [30] Since then, image and sound have had a similar status in the production process, even though the image continues to play the ultimate role in the moviegoer's consciousness. The goal of the envisaged fusion of the image and sound levels is to produce the perfect illusion.

In his film «Nouvelle Vague» (1990), Jean-Luc Godard allows sound and image to fall apart time and again, thus breaking down the illusionist image/sound relation characteristic of Hollywood films. He exaggerates noises, draws attention to intervention by the sound engineer through accelerated fading, allows dialogue to sink into background noises, and mounts music into an image in a way that is irritating and contradicts visible emotional contents.

In interactive media, the linear soundtrack


inevitably becomes a dynamic ‹sound field,› an open structure. Here, the principle of linear narration in classic film and the fixed form sequence predominant in occidental music no longer works. [31] The authoring software «Koan,» which was developed for the dynamic addition of sound to free navigation through Web sites, is a pragmatic concretion of this condition. On the basis of the «Flash» format, zeitblom realized a dynamic sound background of a similar nature for a Web site by the Freunde Guter Musik < which reflects the degree of the visitor's activity.

Acoustic Interfaces

Functional acoustic information—the output of audible responses to user activity—which one can refer to as an ‹acoustic user interface,› is similar to the soundtrack. Research in the area of the ‹auditory display› [32] is searching for neat models for the audification of computing processes and for acoustic orientation aids in large data stocks, for instance through so-called ‹earcons,› which like visual icons should help to quickly and intelligibly distinguish data

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