ABSTRACT Cinematic virtual reality (VR) elicits new possibilities for the treatment of sound in space. Distinct from screen-based practices of filmmaking, diegetic sound–image relations in immersive environments present unique, potent affordances, in which content is at once imaginary, and real. However, a reductive modelling of environmental realism, in the name of ‘presence’ predominates. Yet cross-modal perception is a noisy, flickering representation of worlds. Treating our perceptual apparatus as stable, objective transducers, ignores the inter-subjective potential at the heart of immersive work, and situates users as passive spectators. This condescends to audiences and discounts the historic symbiosis of sound–image signification, which comes to constitute notions of verisimilitude. We understand the tropes; we willingly suspend disbelief. This article examines spatial sound rendering in virtual environments, probing at diegetic realism. It calls for an experimental, aesthetic approach, suggesting several speculative strategies, drawing from theories of embodied cognition and acousmatic practice (amongst others) which necessarily deal with space and time as contingencies of the immersive. VR affords a development of the dialectic between sound and image which distinctively involves our spatial attention. The lines between referent and signified blur; the mediation between representations invoked by practitioners, and those experienced by audiences, suggest new opportunities for co-authorship.

中文翻译：

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听起来太真实了：叙事不忠——虚拟现实中的声音案例

摘要 电影虚拟现实 (VR) 为空间中的声音处理带来了新的可能性。与基于屏幕的电影制作实践不同，沉浸式环境中的叙事性声音-图像关系呈现出独特而有力的可供性，其中内容既是想象的又是真实的。然而，以“存在”的名义对环境现实主义的还原建模占主导地位。然而，跨模态感知是世界的嘈杂、闪烁的表示。将我们的感知设备视为稳定、客观的传感器，忽略了沉浸式工作核心的主体间潜力，并将用户定位为被动的旁观者。这贬低了观众并贬低了声音-图像意义的历史共生关系，这种共生关系构成了逼真的概念。我们了解比喻；我们心甘情愿地停止怀疑。本文研究了虚拟环境中的空间声音渲染，探讨了叙事现实主义。它需要一种实验性的、美学的方法，提出了几种推测策略，借鉴了具身认知和声学实践（以及其他）的理论，这些理论必然将空间和时间视为沉浸式的偶然性。VR 提供了声音和图像之间辩证法的发展，它特别涉及我们的空间注意力。所指和所指之间的界限模糊；从业者援引的陈述与观众所经历的陈述之间的中介为合着提供了新的机会。借鉴了具身认知和声学实践（以及其他）的理论，这些理论必然将空间和时间视为沉浸式的偶然性。VR 提供了声音和图像之间辩证法的发展，它特别涉及我们的空间注意力。所指和所指之间的界限模糊；从业者援引的陈述与观众所经历的陈述之间的中介为合着提供了新的机会。借鉴了具身认知和声学实践（以及其他）的理论，这些理论必然将空间和时间视为沉浸式的偶然性。VR 提供了声音和图像之间辩证法的发展，它特别涉及我们的空间注意力。所指和所指之间的界限模糊；从业者援引的陈述与观众所经历的陈述之间的中介为合着提供了新的机会。