Well my question is related to what Jean was saying in a sense. With the advent of new technology there always seems to be something that is left behind or translated differently in its new form, so with the creation of this entirely immersive sound system, 10.2, what are some possible disadvantages or set back that may occur?
Is an exchange program needed where composers, sound editors and engineers all join together to learn and help create a sound environment using the 10.2 system?
Kenneth Hall :
To me the idea of emotions is that it is a very directional thing. We see something directly and automatically we have a reaction, what we don't see yet hear depending on the sounds can enlist fear in us and so on, so with the advent of this surround sound how do you think it will effect the audience, and your creation of provocative music? Do you think it is an enhancement and what are the measure you can take from this and expand on?
There is this concept that all our ideas have been taken and everything that is currently created is only an appropriation and an altered state of a previous idea, does the same go for sound? Have we heard everything and how do you create something completely new ? How do you introduce it as something new when we have such a complex data base and are always trying to recognize sounds and associate it with what we know ?