Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 2 of 2 Parameters |
| Grodal, T. (2003). Stories for eye, ear, and muscles: Video games, media, and embodied experiences. In M. J. P. Wolf & B. Perron (Eds.), The Video Game Theory Reader. (pp. 129–155). New York: Routledge. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/08/2006, 08:23 | |
| "...video games and other types of interactive virtual reality are simulations of basic modes of real-life experiences. This means that cognitive psychology provides many advantages as a tool for describing video games compared with a semiotic approach." | |
| "...a purely linguistic model may seriously impede descriptions of those media like video games that rely on a series of nonverbal skills." | |
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Takes Brenda Laurel (Laurel 1993) to task for comparing the computer metaphorically to theatre since the human faculties required for theatre "are neither exhaustive nor exclusive to theater." |
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| McMahan, A. (2003). Immersion, engagement, and presence: A new method for analyzing 3-D video games. In M. J. P. Wolf & B. Perron (Eds.), The Video Game Theory Reader. (pp. 67–87). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 01/02/2018, 14:16 | |
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"Immersion is not wholly subject to the technology's physical dimensions nor is it wholly dependent on audio or photo realism. Three conditions are required for immersion"
These conditions are described further by Ermi (Ermi & Mäyrä 2005) |
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Defining realism as one of the factors of immersion/presence, McMahan describes two parts of it: social realism and perceptual realism. She extends Fencott's (1999) work and his argument that, because presence relies on perception (which is a mental rather than sensory/tactile state), increased presence derives from increased field of view and a strong sense of foreground and background. Fencott has derived Perceptual Opportunities which include:
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