Routledge Handbook of Sound Design

Michael Filimowicz is an award-winning AI artist and University Lecturer in the School of Interactive Arts and Technology (SIAT) at Simon Fraser University. He has a background in computer mediated communications, audiovisual production, new media art and creative writing. His Pixelphonics research develops new multimodal display technologies and forms, exploring novel form factors across different application contexts including gaming, immersive exhibitions and simulations.

• 1. Listener perspective in games and virtual reality 2. Sciences of sound design. Research in sound design and its interactions with the design discipline 3. The Globalisation of Sound Design 4. Enacting the Environment Through Sound—Reflections on the Use of Cognitive Metaphors as a Design Framework in Sound Interaction Design 5. Cultivating sounds: relational acoustics within the Buchla-Serge paradigm 6. Acid Music and Sound Design: an examination of the sound design techniques used in a selection of acid music tracks 7. Managing Complexity in Multi-Device Environments 8. Performative Sound Design: A Cultural Perspective on the Art and Craft of Foley 9. The sounds of televised sports 10. Collaborative and Integrated Feminist Approaches to Sound Design 11. The Soundtrack As An Acoustic Environment: Some Insights From Soundscape Research 12. Soundwalking: Three Acts of Attunement, Motion and Breath 13. Sound branding and brand sounds – Traits, types and origins 14. Emotional Intent in Sound Design 15. Psychoacoustics in Sound Design 16. Designing Sonic Interactions in Intelligent Reality with Egocentric Audio Technologies 17. Hidden Tracks – A Spatial Composition to Go 18. The breakthrough of consultancy in music production: A political economy of sound design in the ‘creative economy 19. Everyday Sound through the Ears of the Professional Sound Designer 20. We Have Always Been Modular: Modularity as Production Paradigm for Music in Platform Society 21. Sonification and Sustainability 22. Cinematic Crosstalk and Psychotechnological Spaces: Understanding the soundtrack’s materiality, multimodality and embodiment through conceptual blending