Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-22T18:33:15Z No. of bitstreams: 1 Lucas Correia Meneguette.pdf: 8825186 bytes, checksum: 5d3f05b00c1ad9016e743f5b16cf5bf7 (MD5) / Made available in DSpace on 2016-09-22T18:33:15Z (GMT). No. of bitstreams: 1 Lucas Correia Meneguette.pdf: 8825186 bytes, checksum: 5d3f05b00c1ad9016e743f5b16cf5bf7 (MD5) Previous issue date: 2016-04-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Digital games are one of the main languages of digital culture. As audiovisual, hypermedia and interdisciplinary product, games involve the integration of several professionals in different areas. One of these areas is audio design, which brings together music productions, sound effects and voices in the creation of a sound environment for the game, in close relationship with the fictional universe, with visuality and game design. Although the audio field of study for games already meets a number of academic papers in the last decade, it is a territory still not tamed, especially with regard to the integration of audio within the creation of an aesthetic and functional identity to the game. In this sense, this thesis aims at proposing a conceptual framework that allows us to understand the formation of sonic identity in games, particularly the integration of sound with a “elemental tetrad” made up of aesthetics, mechanics, story and technology. Therefore, it was carried out an extensive bibliography research in various interdisciplinary fields, such as audio for games, sound for cinema, the theory of fictional worlds and the acoustic ecology. Thus, it was possible to reclaim existing concepts and suggest a number of new concepts which helped the aesthetic and functional analysis of individual cases of game sound, such as sound palette, sound profile, sound signature, cosmopoiesis and ludofunctional characterization / Os jogos digitais são uma das principais linguagens da cultura digital. Como produto audiovisual, hipermidiático e interdisciplinar, os jogos envolvem a integração de diversos profissionais, em diferentes áreas de atuação. Uma de suas áreas é o design de áudio, que reúne as produções de músicas, efeitos sonoros e vozes na criação de um universo sonoro para o jogo, em íntima relação com o universo ficcional, com a visualidade e com o game design. Embora o campo de estudos do áudio para jogos já reúna uma série de trabalhos acadêmicos na última década, trata-se de um território ainda pouco desbravado, sobretudo no que diz respeito à integração do áudio com a criação de uma identidade estética e funcional ao jogo. Nesse sentido, essa tese tem o objetivo de propor um arcabouço conceitual que permita compreender a formação de identidade sonora em jogos, particularmente pela integração da sonoridade com uma “tétrade elementar” formada por estética, mecânica, história e tecnologia. Para tanto, realizou-se ampla revisão bibliográfica em diferentes campos interdisciplinares, como o áudio para games, o som para o cinema, a teoria dos mundos ficcionais e a ecologia acústica. Com isso, foi possível reapropriar conceitos existentes, bem como sugerir uma série de novos conceitos que auxiliaram a análise estética e funcional de casos concretos da sonoridade de jogos, tais como paleta sonora, perfil sonoro, assinatura sonora, cosmopoiese e caracterização ludofuncional

Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.