Bailes, F. (2019). Empirical musical imagery beyond the "mind's ear". In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 2, (pp. 445–463). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 09:01
Bech, S., & Francombe, J. (2019). Consumer sound. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 2, (pp. 321–348). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 08:44
Bie, A., & Grimshaw-Aagaard, M. 2026, June 12–14. The producer as puppet. Paper presented at Innovation In Music 2026, Aalborg.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 02/09/2026, 02:04
Bie, A., & Grimshaw-Aagaard, M. (in press). What is it like to be an AI? In S. O. Irwin, N. Liberati & E. Garrett (Eds.), Palgrave Handbook of Phenomenology and Media. Switzerland: Springer Nature.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 02/09/2026, 02:04
Calleja, G. (2014). Immersion in virtual worlds. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 222–236). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21
Calleja favors the term incorporation over immersion or presence because the latter two "are defined by their discontinuity from the real physical world [whereas] incorporation occurs [when playing a computer game, for example] when the game world is present to the player while simultaneously the player is present, via an avatar, to the virtual environment."
Calleja's main bone of contention with concepts such as immersion and presence is that they imply that the user of a virtual environment is "merely a subjective consciousness being poured into the containing vessel of the virtual environment."
For incorporation to occur, the medium must "specifically acknowledge the player's presence and agency within the virtual world."
"while high-fidelity systems are an important part of enhancing the intensity of an experience, they do not themselves create a sense of presence."
Campbell, R. H., Grimshaw, M., & Green, G. M. (2009). Relational agents: A critical review. The Open Virtual Reality Journal, 1 Retrieved April 9, 2009, from http://www.bentham.org/open/tovrj/openaccess2.htm
Added by: Mark Grimshaw-Aagaard 01/02/2022, 18:51
Chalmers, A. (2014). Level of realism: Feel, smell, and taste in virtual environments. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 602–624). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 22/12/2021, 09:54
Collins, K. (2014). Breaking the fourth wall? User-generated sonic content in virtual worlds. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 351–363). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 18/01/2014, 12:01
Collins, K., Tessler, H., Harrigan, K., Dixon, M. J., & Fugelsang, J. (2011). Sound in electronic gambling machines: A review of the literature and its relevance to game sound. In M. Grimshaw (Ed), Game sound technology and player interaction: concepts and developments. (pp. 1–21). Hershey (PA): IGI.
Added by: Mark Grimshaw-Aagaard 29/09/2021, 07:09
Droumeva, M. (2011). An acoustic communication framework for game sound: Fidelity, verisimilitude, ecology. In M. Grimshaw (Ed), Game sound technology and player interaction: concepts and developments. (pp. 131–152). Hershey (PA): IGI.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 30/05/2021, 07:59
"Fidelity reflects the development of sound in games from a technological perspective while verisimilitude reflects the cultural emergence of authenticity, immersion and suspension of disbelief in cinema"
"[...] sound's role in games is not simply descriptive, one of reflecting reality in a high-fidelity manner, but it is largely about function! Interface sounds, warning sounds, alerts, and musical earcons must continue to be part of this acoustic ecology, subject to issues of acoustic balance, masking and fidelity, as well as the informational ecology of interactive play."
"If fidelity refers to the faithfulness of sound quality in computer games, verisimilitude concerns itself with the experience and nature of truthfulness and authenticity in a game context, as conveyed through the game soundscape."
"[...] game sound has developed historically to conform to our sense of reality while at the same time it has constructed a sense of reality, particular to games, that we now expect."
"In its traditional literary/theatrical definition, verisimilitude reflects the extent to which a work of fiction exhibits realism or authenticity, or otherwise conforms to our sense of reality. In film, the notion of verisimilitude signifies the relative success of cinematography at creating an immersive, engaging fictional world of hyper-realistic proportions both in terms of image and sound, but also of intensity of emotion and experience"
Egermann, H. (2019). Creating a brand image though music: Understanding the psychological mechanisms behind audio branding. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 2, (pp. 349–367). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 08:50
Farnell, A. (2011). Behaviour, structure and causality in procedural audio. In M. Grimshaw (Ed), Game sound technology and player interaction: concepts and developments. (pp. 313–339). Hershey (PA): IGI.
Added by: Mark Grimshaw-Aagaard 17/02/2013, 14:30
Garner, T., & Grimshaw, M. 2011, September 7–9. A climate of fear: Considerations for designing an acoustic ecology for fear. Paper presented at Audio Mostly 2011, Coimbra, PT.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/07/2013, 14:18
Garner, T., Grimshaw, M., & Abdel Nabi, D. 2010, September 14–16. A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game. Paper presented at Audio Mostly 2010, New York.
Added by: Mark Grimshaw-Aagaard 22/09/2010, 04:15
Garner, T., & Grimshaw, M. 2013, July 22–26. Psychophysiological assessment of fear experience in response to sound during computer video gameplay. Paper presented at IADIS International Conference Interfaces and Human Computer Interaction, Prague.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/10/2013, 07:13
Garner, T. A., & Grimshaw, M. (2013). The physiology of fear and sound: Working with biometrics toward automated emotion recognition in adaptive gaming systems. IADIS International Journal on WWW/Internet, 11(2). Retrieved February 5, 2014, from http://www.iadisportal. ... i/papers/2013112106.pdf
Added by: Mark Grimshaw-Aagaard 05/02/2014, 13:02
Garner, T. A., & Grimshaw, M. (2014). Sonic virtuality: Understanding audio in a virtual world. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality. (pp. 364–377). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 18/01/2014, 11:55
Garner, T. A. (2013). Game sound from behind the sofa: An exploration into the fear potential of sound & psychophysiological approaches to audio-centric, adaptive gameplay. Unpublished PhD Thesis, University of Aalborg, Denmark.
Added by: Mark Grimshaw-Aagaard 13/05/2013, 08:37
Garner, T. A. (2019). Bridging the other-real: Video game sound and the imagination. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. Vol. 1, (pp. 789–808). New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 19/05/2021, 09:14
Gibbons, W., & Grimshaw-Aagaard, M. (Eds). (2024). The Oxford handbook of video game music and sound. New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/02/2025, 10:46
