Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 8 of 8 Parameters |
| Aarseth, E., Smedstad, S. M., & Sunnanå, L. 2003, November 4–6. A multi-dimensional typology of games. Paper presented at Level Up. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:18 | |
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Points out that it "makes no sense to look at a single player game and a multiplayer game as the same game." "...they are two different games" in terms of the given typology. There's a possible contradiction to this on p.51 where: "It is common to distinguish between single player and multiplayer games, but we see this as an oversimplified categorization". |
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| "Space is a key meta-category of games." | |
| Adams, E. W. 2003, November 4–6. The construction of ludic space. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:17 | |
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Makes the following observations on real-world sound: Perception is 3-dimensional. All observer-created sounds are audible. The aural environment may be created from an infinite number of sounds. Acoustic phenomena such as echoes are created naturally by the materials and shapes in the world. The observer can explore the soundscape by making sound at will. Usually no soundtrack. |
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Following his observations on real-world sound, has the following to say about "ludic spaces": If enough speakers are available, audio approaches 3D quality. Player-created sounds must be supported by the hardware to be audible. The no. of hardware channels limits the no. of ambient sounds. Acoustic phenomena such a echoes are simulated inaccurately or are not present. Usually the player cannot interact with the audio environment by making sound at will. Usually a soundtrack. |
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| Points out that it will be a long time before VR hardware is capable of reproducing the full range of human visual and auditory perception. | |
| Discussing the relationship between architecture and gameplay, he says that architecture can provide subtle clues to aid in exploration - sunglight through a window informs about the environment the other side of the wall. | |
| Copier, M. 2003, November 4–6. The other game researcher: Participating in and watching the construction of boundaries in game studies. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/08/2006, 10:57 | |
| Halloran, J., Rogers, Y., & Fitzpatrick, G. 2003, November 4–6. From text to talk: Multiplayer games and voiceover ip. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:16 | |
| Järvinen, A. 2003, November 4–6. Making and breaking games: A typology of rules. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:16 | |
| States that in a game "[T]here should also be a clear definition of when the game will end." | |
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Five elements of games: Interface. Theme. Procedures. Components. Environment. |
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| Kattenbelt, C., & Raessens, J. 2003, November 4–6. Computer games and the complexity of experience. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/08/2006, 10:58 | |
| "The lyric position primarily concerns an emotional orientation towards an affective perception of the world; the dramatic position primarily concerns an action-motivated orientation towards and a senso-motorial perception of the world; and the epic position primarily concerns a reflective oreientation towards and a contemplative perception of the world. The lyric and the epci position [sic] have in common that the player is liberated from the necessity of action." | |
| State that computer games are usually analyzed as a sensory-motor model closely related to actuality and to the causality of action. This presupposes the Aristotelean, action-driven dramatic model. The complexity of experience on the part of the player is not done justice to with this approach. | |
| Nitsche, M., & Thomas, M. 2003, November 4–6. Stepping back: Players as active participators. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:57 | |
| "Players step into a dramatic position in relation to the fictional world -- defined by the very character they control." | |
| "Having two heroes battling with certain tasks spread on a virtual stage filled with dramatic elements ... transforms the space between the virtual heroes in Common Tales into a valuable expressive element of the relationship between the two main characters." | |
| Roudavski, S., & Penz, F. 2003, November 4–6. Space, agency, meaning and drama in navigable real-time virtual environments. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2006, 11:06 | |
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"...navigable space always carries meaning". "...environmental perception is inclusive of both 'bottom-up' (the information is in the environment) and 'top-down' (the interpretation is shaped by experience) theoretical standpoints." This is cyclical: "we use the environmental information to build up a perceptual model and then rely on this model in search of unexpected features." |