Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 9 of 9 Parameters |
| AudioMostly. (2006). Piteå, Sweden: Interactive Institute. http://www.tii.se/sonic ... amc_proceedings_low.pdf. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/01/2008, 21:06 | |
| Cunningham, S., Grout, V., & Hebblewhite, R. 2006, October 11–12. Computer game audio: The unappreciated scholar of the Half-Life generation. Paper presented at Audio Mostly 2006, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/02/2008, 10:56 | |
| Ekman, I. 2008, October 22–23. Psychologically motivated techniques for emotional sound in computer games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
 
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| Added by: Mark Grimshaw-Aagaard 08/01/2009, 10:14 | |
| The role of sound in film (and, for Ekman, by extension games) is "to make things on screen seem real [...] to create a sense of immediacy", to support and facilitate gameplay and to provoke "sensory pleasure and displeasure." | |
| Typically in film, sounds (especially dialogue) is used to drive the narrative; in games, sounds support player action and hence have a greater utility value as opposed to narrative value. | |
| Garcia, J. M. 2006, October 11–12. From heartland values to killing prostitutes: An overview of sound in the video game Grand Theft Auto Liberty City Stories. Paper presented at Audio Mostly 2006, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 17/09/2009, 09:49 | |
| "In the most immersing environments reminders of the structural level of the game are gone and the player can concentrate on the game-world level." | |
| Garner, T., Grimshaw, M., & Abdel Nabi, D. 2010, September 14–16. A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game. Paper presented at Audio Mostly 2010, New York. |
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| Added by: Mark Grimshaw-Aagaard 22/09/2010, 04:15 | |
| Grimshaw, M., Lindley, C. A., & Nacke, L. 2008, October 22–23. Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Deleted user 31/07/2009, 16:58 | |
| Kromand, D. 2008, October 22. Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard 24/11/2008, 10:12 | |
| "The collapse of the barrier between the diegetic and non-diegetic soundscape is a strategy to build a horror atmosphere." | |
| "The soundscape of Silent Hill 2 operates within a framework of uncertainty that constantly holds the player between knowledge and ignorance." | |
| The lack of a barrier between diegetic/nondiegetic sounds "purposefully hinders an efficient transfer of affordance". | |
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Debating Jørgensen's 'trans-diegetic' sound terminology: sound that crosses the barrier between diegetic and nondiegetic worlds (cf Count Basie's orchestra in Blazing Saddles at first seems nondiegetic until the hero comes across the orchestra playing in the desert at which point the music becomes diegetic. Trans-diegesis is a short transgression of the barrier between diegetic/nondiegetic, not a breakdown. The trans-diegetic sound transfers information to the player from the game. Two types, 'reactive sound affirming player input or as a proactive sound informing the player of an altered game state (Jørgensen 2007; 116).' |
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| Proceedings of the 5th Audio Mostly: A conference on interaction with sound. (2010). New York: Interactive Institute. http://www.audiomostly.com/. |
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| Added by: Mark Grimshaw-Aagaard 22/09/2010, 04:08 | |
| Röber, N., Deutshmann, E. C., & Masuch, M. 2006, October 11–12. Authoring of 3D virtual auditory environments. Paper presented at Audio Mostly 2006, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard 15/02/2008, 11:45 |