In an interactive book called The Sounds of Star Wars the story of how all the different sound effects and aural environments in Star Wars were created is told through text and, appropriately, sound.
Susan Philipsz The best sound artist on the block has created an aural echo of 20th-century wars.
The result was a gripping piece of aural art about the soundscape of war, and a memorable demonstration of the musical power of cutting-edge electronics.
Rap was a form of aural graffiti, just as the graffiti style wars were the visual counterpart of the fevered sonic competition among rappers and D.J.'s.
When Pablo Casals, whose late-1930s recofdings of Bach's Cello Suites became an aural icon of humanism and peace against fascism and war, was asked to pick one piece of music for the whole world to hear, he chose the sarabande from the fifth suite in C minor.
And, in one of the most dazzling coups I've ever witnessed, the transition to the war zone is achieved through a visual and aural bombardment that shows how even the battlefront has echoes of the world left behind: a Dublin backdrop turns into a ruined monastery and a wounded soldier crouches on the remains of a tenement fireplace.
Now, however, every Wednesday through the end of September, Shakespeare's Globe Theatre, in London, is staging "Troilus and Cressida," a rueful comic meditation on war's delirium, in Early Modern English, or "Original Pronunciation" — a novel aural simulacrum of Elizabethan delivery as it was before the eighteenth century standardized the spelling and, inevitably, the speaking of the Bard.
Apocalypsticism, family, war, and technology are a few of the themes explored in the aural and visual experiences of musician and 3D artist No Death.
"In 1977, with the release of Star Wars: A New Hope, Ben Burtt introduced a new lexicon of sounds into our aural vocabulary," Kaneria explains in his video description.
