Audio Graffiti

Sound is as vital of a part of storytelling as any medium similar to it such as visuals or texts. If one separates sound from the video that is tagged along with it, it becomes clear that the sound encourages the imagination to create the video in which the sound suggests. In this level of storytelling, the receiver of the story almost creates half of the story for him/herself.

Sound sets the mood in any situation of storytelling. In a TV show or movie, the soundtrack is a vital part of the subliminal messaging of the show, where certain sounds/music correlate with certain characters and situations. A great example of this directing of mood and atmosphere is Game of Thrones. In much of the show, each character has his/her own thematic song/tune, or types of situations have different keys of music, like minor keys for tense and sad moments or major keys for triumphant and good moments. I will include some great sounds/music from Ramin Djawadi, the score composer for most of Game of Thrones and a true master of his craft. In this way, sound drives how the mind perceives a situation in a story.

A great supporting piece of evidence for this is Abumrad’s explanation of intimacy of radio here, which is where he explains the reason radio hasn’t died out yet is because of the level of empathy and intimate relation someone talking on the radio produces for the receiver of that radio broadcast. For some reason, Abumrad adds, this type of emotional connection happens with the radio broadcaster and the receiver, and this type of connection can be seen with podcasts and talk shows like the ones people listen to in their car in the mornings on their commute to work. Moon Graffiti is also a great example of this, where the listener sympathizes with Armstrong and Aldrin in their futile existence after their moon lander crashes and they only have two hours left to live. In this sense, sound creates intimacy.