Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 8 of 8 Parameters |
| Blattner, M. M., Sumikawa, D. A., & Greenberg, R. M. (1989). Earcons and icons: Their structure and common design principles. Human-computer Interaction, 4, 11–44. |
  
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| Added by: Mark Grimshaw-Aagaard 18/01/2016, 15:54 | |
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Paraphrasing Kerman: "Even though timbre is difficult to describe and notate precisely, it is one of the most immediate and easily recognizable characteristics of sound."* * Kerman, J. (1980). Listen. New York: Worth. |
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| A personal communication from Buxton indicates that in video arcades "scores drop when sound accompanying video games is turned off." | |
| Earcons are "nonverbal audio messages used in the user-computer interface to provide information to the user about some computer object, operation, or interaction." | |
Three classes of earcons:
with grey areas inbetween. |
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| Fernández-Vara, C., Zagal, J. P., & Mateas, M. 2005, June 16–20. Evolution of spatial configurations in videogames. Paper presented at Changing Views -- Worlds in Play, Toronto. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 05/08/2005, 10:48 | |
| Innocent, T. 2003, May 19–23. Exploring the nature of electronic space through semiotic morphism. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 07/03/2006, 05:54 | |
| Comparing electronic spaces to real spaces and the difficulties in modelling the former: "...the starting point is a void. This presents a significant limitation..." requiring complex physica and behavioural modelling in an attempt to simulate reality. | |
| "...an electronic space can be seen as an expression of a subset of known semiotic systems." Therefore "electronic space is made of language" and nothing in that space is devoid of meaning. | |
| "...the space is interpreting the user and the user's actions as signs to be decoded and given meaning. As a result of this dynamic relationship the representation, or interpretant, can alter the associations between signs and their signifiers in response to its reading of the users [sic] actions." | |
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Describing his own game as demonstrating semiotic morphism, the physical space surrounding a player (textures, colours etc.) changes or morphs when another character is in close proximity. This provides new meaning to the player according to the morphing of this electronic space. |
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| Murphy, D., & Pitt, I. (2001). Spatial sound enhancing virtual story telling. Lecture Notes in Computer Science, 2197, 20–29. |
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| Added by: Mark Grimshaw-Aagaard 08/06/2012, 14:59 | |
| "Sound and in particular spatial sound is a very powerful medium for conveying a sense of immersion within a virtual environment. The various attributes of spatial sound can affect the perception of an environment, the context of a communication, and alter the meaning of a message." | |
| "Subjects appear more willing to explore a room or space if it has associated sound. However, there is also some evidence that a subject may curtail exploration of the current area if the sounds suggest that an adjacent area may be more interesting." | |
| Re. the use of head-tracking devices feeding back into a sound spatialization engine, these help give better sound directionality and assist in sound source externalization (i.e. not having the sound inside-the-head via headphones). In this sense, nutation is mimicked. | |
| Describes the use of environmental sounds to "lure" VE users to other locations. While these distant sounds are usually at a low level, they are occasionally amplified in an attempt to entice the user to explore in the direction of the sound. These sounds (or their sources) are never visually realised. | |
| Rheingold, H. (1991). Virtual reality: The revolutionary technology of computer-generated artificial worlds -- and how it promises and threatens to transform business and society. New York: Summit Books. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/04/2005, 20:58 | |
| A description of the Convolvotron developed at NASA/Ames Laboratory in the late 1980s. Basically an early HRTF system modelling the human outer ears' perception of audio. Interesting for a mention of historical work in the positioning of sound in 3D virtual reality and early use of the term 'auditory visualization'. | |
| Röber, N., & Masuch, M. 2005, June 16–20. Playing audio-only games: A compendium of interacting with virtual auditory worlds. Paper presented at Changing Views -- Worlds in Play, Toronto. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/07/2005, 11:13 | |
| "The most important quality to explore acoustic spaces is the ability to determine the origin of sounds and speech." | |
| Sánchez, J., & Lumbreras, M. 1999, May 15. Interactive 3d sound hyperstories for blind children. Paper presented at Conference on Human Factors in Computing Systems, Pittsburgh, USA. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 19/04/2005, 10:30 | |
| Makes the point that images are "not visual by nature" although "the majority of image representations are created from visual perception." | |
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Concludes: "it is possible to render a spatial navigable structure by using only spatialized sound" and preserve "with a notable degree of precision the structure, topology, orientation, navigation, and mobility." As they point out, the experiment did not include "free navigation in open places". |
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| Taylor, L. N. (2002). Video games: Perspective, point-of-view, and immersion. Unpublished thesis master's, University of Florida. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/11/2006, 11:01 | |
| "... as much of the 20th century phenomenology of vision has demonstrated, geometrically accurate space is not equivalent to lived, representational space. A phenomenological awareness of the space must exist ... constructed from the combination of the geometric construction of space, the narrative of the game space, and the character through which the player interacts within the space." |