Abstract
ABSTRACT This article interrogates claims made in the emerging discourse of immersive audio documentary that spatial sound is more real, allowing the listener to step into another space, and understand the world better. However, the analysis shows makers are failing to make good on these claims. Use of the technical affordances of spatial audio is limited and producers enroll concepts of the real and of transportation in a colonial discourse of exploration and adventure, reproducing a disengaged mode of listening, while avoiding discomfort at all costs.
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