Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 20 of 73 Parameters |
| Anzieu, D. (1989). The skin ego: A psychoanalytical approach to the self. C. Turner, Trans. New Haven and London: Yale University Press. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 18/05/2023, 07:18 | |
| "the Self forms as a sound envelope through the experience of a bath of sounds [...] This sound-bath prefigures the Skin Ego with its double face, one half turned towards the outer world, the other towards the inner, since the sound envelope is composed of sounds emitted either by the baby or the environment. The combination of these sounds therefore produces (a) a common space-volume permitting bilateral exchange [...] (b) a first (spatio-auditory) image of one's own body" | |
| Citing number of studies of babies, these "suggest that mental capacities operate first on acoustic material [the suggestion] that the differentiations of gestures and mimicry [...] are at the root of social communication and mental representation, comes to seem improbable. It appears that feedback loops with the environment are formed much earlier in the baby. These are audio-phonological in nature" | |
| The Self is "a pre-individual psychical cavity possessing a rudimentary unity and identity." | |
| Barfield, W., & Weghorst, S. 1993, August 8–13. The sense of presence within virtual environments: A conceptual framework. Paper presented at Proceedings of the Fifth International Conference on Human-Computer Interaction, Amsterdam. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:22 | |
| "Virtual presence is generally conceived of as a hypothetical subjective state of awareness and involvement in a non-present environment." | |
Proposes a number of factors influencing presence in VEs (virtual presence):
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| Proposes a number of psychphysiological means to assess presence. | |
| Attempting to assess presence: "we might expect a performance decrement on concurrent tasks defined solely in the natural environment. And when natural and virtual frames of reference call for conflicting responses, the direction of resolution of the conflict may also serve as an indicator of the degree of presence within each. Furthermore, as the sense of presence increases, the attentional resoures allocated to the objects or tasks performed in the virtual environment should increase. Therefore, we postulate that as the sense of presence increases, the virtual environment participant will pay less attention to sensory input external to the virtual environment." | |
| Bouchard, S., St-Jacques, J., Robillard, G., & Renaud, P. (2008). Anxiety increases the feeling of presence in virtual reality. Presence: Teleoperators and Virtual Environments, 17(4), 376–391. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/08/2020, 15:36 | |
| Not only external factors but also "psychological states and appraisal patterns of users might also affect presence." | |
| Suggest that there is a limit to the linear equation between increasing sophistication of immersive technology/level of realism and development of presence. | |
| Bystrom, K.-E., Barfield, W., & Hendrix, C. (1999). A conceptual model of the sense of presence in virtual environments. Presence: Teleoperators and Virtual Environments, 8(2), 241–244. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:22 | |
| Chertoff, D. B., Schatz, S. L., McDaniel, R., & Bowers, C. A. (2008). Improving presence theory through experiential design. Presence: Teleoperators and Virtual Environments, 17(4), 405–413. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/09/2018, 16:27 |
Mat. 10/10 |
| "presence is an emergent factor due to the interaction of many components [...] it is a result that is greater than the sum of its parts." | |
| "Current virtual environments are primarily conceptualized as information technologies, while they should instead be considered "knowledge technologies"." | |
Proposes 5 dimensions to presence (dimensions come from experience design theories):
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| Durlach, N., & Slater, M. (2000). Presence in shared virtual environments and virtual togetherness. Presence: Teleoperators and Virtual Environments, 9(2), 214–217. |
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| Added by: Mark Grimshaw-Aagaard 02/08/2018, 12:05 | |
| Ellis, S. R. (1996). Presence of mind: A reaction to Thomas Sheridan's "further musings on the psychophysics of presence". Presence: Teleoperators and Virtual Environments, 5(2), 247–259. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/07/2018, 10:46 | |
| Discussing how measurements of aspects of "a virtual environment display convince its users that they are present in a synthetic world" | |
| "A clear meaning for virtual as used in this paper may be based on a more general concept: virtualization, which can be considered the process by which a viewer interprets patterned sensory impressions to represent objects in an environment other than that from which the impressions physically originate." | |
| "one could consider the normal functioning of the human sensory systems as the special case in which the detection of physical energy and the interpretation of patterned sensory impressions result in the perception of real objects in the surrounding physical environment. In this respect perception of the physical environment resolves to the case in which through a process of systematic doubt, it is impossible for an observer to refute the hypothesis that the apparent source of sensory stimulus is indeed its physical source." | |
| "As more and more sources of sensory information and envrionmental control are available, the process of virtualization [...] can be more and more complete until the resulting impression is indistinguishable from physical reality" | |
| In suggesting that interface performance in virtual environments can be improved by decreasing presence, Ellis suggests removing or controlling the realism of spatial information. | |
| Flach, J. M., & Holden, J. G. (1998). The reality of experience: Gibson's way. Presence: Teleoperators and Virtual Environments, 7(1), 90–95. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21 | |
| "the reality of experience (i.e. presence or immersion)." | |
| Re Gibson, "action takes precedence. The experience depends more on what can be "done" than on the quality of visual or acoustic images." | |
| "in the design of experiences in virtual environments the constraints on action take precedence over the constraints on perception." | |
| Floridi, L. (2005). The philosophy of presence: From epistemic failure to successful observation. Presence: Teleoperators and Virtual Environments, 14(6), 656–667. |
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| Added by: Mark Grimshaw-Aagaard 09/03/2018, 08:42 | |
| Fontaine, G. (1992). The experience of a sense of presence in intercultural and international encounters. Presence: Teleoperators and Virtual Environments, 1(4), 482–490. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21 | |
| Two major differences between flow and presence: "(1) flow involves a narrow focus on a limited range of task characteristics, whereas presence involves a broader awareness of the task ecology; and (2) flow is associated with feelings of control whereas presence has been associated with novel ecologies involving a lack of predictability that makes feelings of control difficult." | |
| Freeman, J., Avons, S. E., Pearson, D. E., & IJsselsteijn, W. A. (1999). Effects of sensory information and prior experience on direct subjective ratings of presence. Presence: Teleoperators and Virtual Environments, 8(1), 1–13. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/02/2018, 08:41 | |
| Fried, M. (1980). Absorption and theatricality: Painting and beholder in the age of Diderot. Berkeley: University of California Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21 | |
| Discussing a painting by Jean-Baptiste Le Prince, Diderot states that it "puts you in the scene" but, rather than merely being an observer of the pastoral setting and musical absorption depicted in the painting, Diderot feels compelled to take part in and extend the action: "I shall go and sit next to the boy; and when night draws near, all three of us together will accompany the good old man to his hut". (Translation by Fried.) | |
| Of paintings by Claude-Joseph Vernet, where Diderot imagines himself wandering through and extending the depicted landscape and activities: "Who knows how long I spent in that state of enchantment?" (translated by Fried). | |
| According to Diderot, one forgets one's presence in front of the painting: one is in the painting and "that is the strongest magic of art" (translated by Fried). | |
| Diderot's views call for an obliteration of the beholder's presence in front of the painting and the transportation of "the beholder's physical presence" to within the painting. Beholder and painting become "a closed and self-sufficient system". | |
| Garau, M., Friedman, D., Ritter Widenfeld, H., & Antley, A. Temporal and spatial variations in presence: Qualitative analysis of interviews from an experiment on breaks in presence. Presence: Teleoperators and Virtual Environments, 17(3), 293–309. |
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| Added by: Mark Grimshaw-Aagaard 09/03/2018, 11:18 | |
| Gilbert, S. B. (2016). Perceived realism of virtual environments depends on authenticity. Presence: Teleoperators and Virtual Environments, 25(4), 322–324. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 23/05/2021, 09:53 | |
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"I suggest that immersion is the system-based factor that influences presence, and that authenticity is the human-based factor that influences presence" |
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"Authenticity’s second stream of thought comes from art historians and archaeologists who think carefully about the past, and who often seek to establish whether artifacts found in the present are authentic. While establishing an artifact’s date and place of origin might be a matter of objective fact, Lovata (2007) argues that these facts are simply nominal authenticity, and that a richer, more complex sense of authenticity is context dependent, and depends on the motivations of the observer." |
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"A VE with higher immersion, so the argument goes, should lead to higher fidelity, and generate a greater sense of presence, the subjective experience felt by the user. But if I put you in a highly immersive environment and give you badly designed content to experience, will you perceive the VE as realistic and experience presence? Probably not. What’s missing from this dichotomy of immersion (objective, system-focused) and presence (subjective, user-focused) is a computational theory about the extent to which the VE reflects the expected regularities of world that it is attempting to represent—its authenticity. Authenticity draws on two streams of thought: expectations and motivations." |
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| "While the perception of a virtual environment (VE) is usually described in terms of its level of immersion and users’ sense of presence, the construct of authenticity might be more useful. The authenticity of a VE depends on whether the affordances and simulations chosen in its implementation support (1) users’ expectations based on their Bayesian priors for regularities in the real world and (2) the users’ intentions in the VE . . . the term ‘‘authenticity’’ refers to whether the virtual environment provides the experience expected by the user, both consciously and unconsciously." | |
| Gilkey, R. H., & Weisenberger, J. M. (1995). The sense of presence for the suddenly deafened adult: Implications for virtual environments. Presence: Teleoperators and Virtual Environments, 4(4), 357–363. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/08/2018, 12:53 | |
| "The problem of implementing a virtual environment in toto is intractable at present." | |
| Grimshaw, M., Lindley, C. A., & Nacke, L. 2008, October 22–23. Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Deleted user 31/07/2009, 16:58 | |
| Grimshaw, M. (2017). Presence through sound. In C. Wöllner (Ed), Body, Sound and Space in Music and Beyond: Multimodal Explorations. (pp. 279–298). London: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/08/2020, 21:07 | |
| Grimshaw-Aagaard, M. (2019). Sonic virtuality, environment, and presence. In J. Braga (Ed), Conceiving Virtuality: From Art To Technology. (pp. 69–80). Switzerland: Springer Nature. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 12/09/2020, 08:40 | |
| Grimshaw-Aagaard, M. N. (2019). Presence and biofeedback in first-person perspective computer games: The potential of sound. In M. Filimowicz (Ed), Foundations in Sound Design for Interactive Media. (pp. 78–94). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/01/2024, 08:27 | |
| Grimshaw-Aagaard, M. (2019). Presence, environment, and sound and the role of imagination. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 1, (pp. 669–681). New York: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/11/2021, 11:43 |