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Back, M., & Des, D. (1996). Micro-narratives in sound design: Context and caricature in waveform manipulation. Retrieved January 7, 2008, from http://www.icad.org/web ... ICAD96/proc96/back5.htm    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 07/01/2008, 12:54
Posits elements of an auditory structure designed to impart information which may include:

"CONTEXT: Where am I?
STORY: What is going on?
DYNAMICS: What is happening now?
EXPRESSION: How does it feel?
INSTRUCTION: What happens next?" 		 
Explains that caricature can help provide realism where the actual or real sound fails to impress. Uses example of door shutting and talks about layering other sounds on top and using DSP e.g. EQ, envelope-shaping and reverb/echo to provide the impression of a door shutting.
Keane, S. (2002). From hardware to fleshware: Plugging into David Cronenberg's eXistenZ. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 145–156). London: Wallflower Press.   
Added by: Mark Grimshaw-Aagaard 04/10/2004, 17:04
Laurel, B. (1993). Computers as theatre. New York: Addison-Wesley.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 15/05/2008, 10:25
States that the reason early users of CRT displays hit on a game to demonstrate prototype graphics software (MIT 1962 spacewars) was "its capacity to represent action in which humans could participate."  
A good definition of a virtual object:
"..may be one that has no real-world equivalent, but the persuasiveness of its representation allows us to respond to it as if it were real." 		 
"If "natural" sound (as opposed to speech or music) is an aspect of an environment, it must be employed consistently; that is, the causal relationships between sound and other modalities must be preserved. When things fall down (in a world that has sounds), they go "boom.""  
"...we tend to expect that the modalities involved in a representation will have roughly the same "resolution." ... A computer game that incorporates breathtakingly high-resolution, high-speed animation but produces only little beeps seems brain-damaged."  
"...it is well known in the folklore of computer game design that high-quality audio makes people perceive visual displays to have higher resolution."  
"[t]ight linkage between visual, kinaesthetic, and auditory modalities is the key to the sense of immersion that is created by many computer games, simulations and virtual-reality systems"  
Laurel develops Aristotle's four causes (Poetics) and applies them to theatre:

  1. Formal cause. The plot or complete action subsuming form, genre etc.
  2. Material cause. The enactment of a performance: words, sound, props, art etc. Spectacle.
  3. Efficient cause. The skills and tools of all personnel contributing to the play.
  4. End cause. Catharsis. Audience response. The reactions and emotions aroused.
  
Discussing four criteria of characters from Aristotle's Poetics:

  1. Characters must be good in the sense of successfully carrying their function within the play - ability to transfer thought into action.
  2. Characters and their traits must be appropriate to the actions they enact.
  3. Characters must be probably in terms of understood reality. Logical causal connections between thought, characteristic straits and action.
  4. Characters must be consistent. No arbitrary changes.
  
Makes the case that human - computer activities are more akin to drama than narrative:

  1. Between the two, time is different, has a different scale.
  2. Narrative is description, drama is action.
  3. Drama is more cathartic, less episodic, has unity of action.
Nacke, L., Lindley, C. A., & Stellmach, S. 2008, October 20–21. Log who's playing: Psychophysiological game analysis made easy through event logging. Paper presented at Fun and Games, Berlin Heidelberg.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Deleted user 31/07/2009, 16:50
Rinman, M.-L., Friberg, A., Bendiksen, B., Cirotteau, D., Dahl, S., & Kjellmo, I., et al. (2004). Ghost in the cave -- an interactive collaborative game using non-verbal communication. Lecture Notes in Artificial Intelligence, 2915, 549–556.    
Added by: Mark Grimshaw-Aagaard 06/06/2005, 12:08
"...happiness is communicated by fast tempo, staccato articulation, high sound level, and fast tone attacks, while sadness is communicated by slow tempo, low sound level, legato articulation, and slow tone attacks."
Zhou, Z., Cheok, A. D., & Pan, J. (2004). 3d story cube: An interactive tangible user interface for storytelling with 3d graphics and audio. Personal and Ubiquitous Computing, 8(5), 374–376.   
Added by: Mark Grimshaw-Aagaard 19/04/2005, 13:37
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