Bailes, F. (2019). Empirical musical imagery beyond the "mind's ear". In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 2, (pp. 445–463). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 09:01
Barfield, W., Zeltzer, D., Sheridan, T. B., & Slater, M. (1995). Presence and performance within virtual environments. In W. Barfield & T. A. Furness III (Eds.), Virtual Environments and Advanced Interface Design. (pp. 473–513). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/07/2020, 09:01
The authors base their definition of presence in virtual environments (being there) on presence in non-virtual or real worlds and take this foundational definition from Webster's: ""Presence" generally refers to the sense of being present in time or space at a particular location"
"An important point to emphasize is that it is necessary for attentional resources to be directed to stimulus information before the sense of presence can occur."
Note that presence can occur when only a subset of sensory modalities are engaged. Claim that many VEs "successfully invoke presence" via auditory and visual modalities only.
Bech, S., & Francombe, J. (2019). Consumer sound. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 2, (pp. 321–348). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 08:44
Calleja, G. (2014). Immersion in virtual worlds. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 222–236). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21
Calleja favors the term incorporation over immersion or presence because the latter two "are defined by their discontinuity from the real physical world [whereas] incorporation occurs [when playing a computer game, for example] when the game world is present to the player while simultaneously the player is present, via an avatar, to the virtual environment."
Calleja's main bone of contention with concepts such as immersion and presence is that they imply that the user of a virtual environment is "merely a subjective consciousness being poured into the containing vessel of the virtual environment."
For incorporation to occur, the medium must "specifically acknowledge the player's presence and agency within the virtual world."
"while high-fidelity systems are an important part of enhancing the intensity of an experience, they do not themselves create a sense of presence."
Chalmers, A. (2014). Level of realism: Feel, smell, and taste in virtual environments. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 602–624). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 22/12/2021, 09:54
Cohen, M., & Wenzel, E. M. The design of multimodal sound interfaces. In W. Barfield & T. A. Furness III (Eds.), Virtual Environments and Advanced Interface Design. (pp. 291–346). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/07/2020, 15:07
Collins, K. (2014). Breaking the fourth wall? User-generated sonic content in virtual worlds. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 351–363). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 18/01/2014, 12:01
Cross, I. (2005). Music and meaning, ambiguity and emotion. In D. Miell, R. MacDonald & D. J. Hargreaves (Eds.), Musical Communication. New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 29/11/2021, 15:08
Egermann, H. (2019). Creating a brand image though music: Understanding the psychological mechanisms behind audio branding. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 2, (pp. 349–367). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 08:50
Ferber, I. (2019). Language and hearing: Heidegger’s Herder. In Language Pangs: On Pain and the Origin of Language. (pp. 94–119). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 09/03/2023, 12:08
Garner, T. A., & Grimshaw, M. (2014). Sonic virtuality: Understanding audio in a virtual world. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 364–377). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 18/01/2014, 11:55
Garner, T. A. (2019). Bridging the other-real: Video game sound and the imagination. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 1, (pp. 789–808). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 09:14
Gibbons, W., & Grimshaw-Aagaard, M. (Eds). (2024). The Oxford handbook of video game music and sound. New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/02/2025, 10:46
Gibbons, W., & Grimshaw-Aagaard, M. (2024). Introduction: A hub world for game audio. In W. Gibbons & M. Grimshaw-Aagaard (Eds.), The Oxford Handbook of Video Game Music and Sound. (pp. 1–13). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 10/03/2024, 08:40
Grimshaw, M., & Garner, T. A. (2015). Sonic virtuality: Sound as emergent perception. New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/05/2015, 15:30
Grimshaw, M., & Garner, T. (2014). Embodied virtual acoustic ecologies of computer games. In K. E. Collins, B. Kapralos & H. Tessler (Eds.), The Oxford Handbook of Interactive Audio. (pp. 181–195). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/05/2014, 10:08
Grimshaw, M. (2012). Sound and player immersion in digital games. In T. Pinch & K. Bijsterveld (Eds.), The Oxford Handbook of Sound Studies. (pp. 347–366). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 20/01/2012, 15:28
Grimshaw, M., Tan, S.-L., & Lipscomb, S. D. (2013). Playing with sound: The role of music and sound effects in gaming. In A. Cohen, S.-L. Tan, R. Kendall & S. D. Lipscomb (Eds.), Psychology of Music in Multimedia. (pp. 289–314). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/10/2015, 07:13
Grimshaw-Aagaard, M. N. (2024). Ambiguity and vagueness in video game sound. In W. Gibbons & M. Grimshaw-Aagaard (Eds.), The Oxford Handbook of Video Game Music and Sound. (pp. 271–286). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 10/03/2024, 09:38
Grimshaw-Aagaard, M. (2024). The importance of sound to the formation of presence. In W. Gibbons & M. Grimshaw-Aagaard (Eds.), The Oxford Handbook of Video Game Music and Sound. (pp. 916–928). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 10/03/2024, 09:37
