Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 20 of 26 Parameters |
| Bridgett, R. (2002). Interactive music. Retrieved November 25, 2021, from http://web.archive.org/ ... .org.uk/interactive.htm |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/10/2021, 13:37 | |
| Gaver, W. W. (1989). The SonicFinder, a prototype interface that uses auditory icons. Human Computer Interaction, 4(1), 67–94. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/04/2013, 16:41 | |
| Describing the choice of sound in SonicFinder: "First, the user selects the file (Figure 1 A). This is indicated both visually, by the file becoming highlighted, and aurally by the sound of an object being tapped. The type of object is conveyed by the material being tapped. In this example, the object is a file, so it makes a wooden "thunk." If it had been an application, it would have made a metal sound; a folder would have made a sharper paper-like sound; disks a hollow metal sound (like a large metal container being tapped); and the trashcan a different hollow metal sound. In the Finder, there are standard icons for folders, disks, and the trashcan, but applications and files are not distinguished by icon type. These are easily differentiated in the SonicFinder by the use of different sounding materials for their selection sounds." | |
| "Note that sound effects are not arbitrarily related to their associated events. Instead, they seem to rely on the abilities of listeners to generalize their knowledge about everyday sound-producing events to new ones, even imaginary ones involving things such as light-sabers or transporters. Windows in the everyday world don't open as the ones in the SonicFinder do, but this event does resemble others in the everyday world, such as the rapid approach or sudden expansion of an object. | |
| Hard disks use a lower frequency sound than floppies because they are larger. | |
| Main advantage of auditory icons in conjunction with the Apple desktop icons is their provision of redundant information. The provision of new information (e.g. about the size of disks) seems to be less important. | |
| Discusses conceptual mappings (events in computer world are mapped to tasks in a model world -- binary flow, gates, etc. mapped to file operations, for example, computer desktop is a conceptual mapping) and perceptual mappings (the mapping between the model world and the perceptual world -- how we interface). | |
| Grieb, M. (2002). Run lara run. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 157–170). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 04/10/2004, 17:01 | |
| 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 | |
| King, G., & Krzywinska, T. (2002). Cinema/videogames/interfaces. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 1–32). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 11/04/2006, 13:42 | |
| A discussion of the term interactive as applied to videogames. Notes the problems associated with using it as a term to distinguish games from cinema (the latter also requires interaction from its audience which likewise may be passive or active). Notes Aarseth's coining of the term ergotic as a replacement meaning greater effort is required to process the text in videogames. | |
| Krzywinska, T. (2002). Hands-on horror. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 206–223). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 05/10/2004, 12:09 | |
| Talking of horror in film and game: "Sound also plays a crucial role in both media to evoke the emotional impact of horror, and is often linked to the operation of the moral occult. Many videogames deploy sound as a key sign of impending danger, designed to agitate a tingling sense in anticipation of the need to act... These aural cues ... help to create an increased level of expectation and play a significant role in the creation of atmosphere as well as in emotional and structural dynamics of the games." | |
| Lindley, C. A. (2002). Conditioning, learning and creation in games: Narrative, the gameplay gestalt and generative simulation. Retrieved May 24, 2004, from http://zerogame.tii.se/pdfs/NILE.pdf |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/09/2005, 11:12 | |
| Lindley, C. A., & Sennersten, C. C. (2008). Game play schemas: From player analysis to adaptive game mechanics. International Journal of Computer Games Technology, 2008. |
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| Added by: Mark Grimshaw-Aagaard 06/05/2008, 10:43 | |
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"a game play schema is understood as a cognitive structure for orchestrating the various cognitive resources required to generate motor outputs of game play in response to the ongoing perception of an unfolding game. A game play schema is therefore the structure and algorithm determining the management of attentional and other cognitive, perceptual, and motor resources required to realize the tasks involved in game play. [...] Schemas can be regarded as mechanisms or algorithms that, among other functions, determine the allocation of attention to cognitive tasks." |
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| Manninen, T. (2003). Interaction forms and communicative actions in multiplayer games. Game Studies, 3(1). Retrieved September 16, 2004, from http://www.gamestudies.org/0301/manninen/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:03 | |
| McGonigal, J. 'this is not a game': Immersive aesthetics and collective play. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne. |
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| Added by: Mark Grimshaw-Aagaard 17/09/2004, 07:55 | |
| Moll, J., Huang, Y., & Sallnäs, E.-L. (2010). Audio makes a difference in haptic collaborative virtual environments. Interacting with Computers, 22(5). |
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| Added by: Mark Grimshaw-Aagaard 29/06/2010, 02:37 | |
| Morris, S. (2002). First person shooters -- a game apparatus. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 81–97). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 23/09/2004, 15:57 | |
| Talking of a typical gamer's hardware setup and location, says they often have to use headphones to "create their own dedicated sonic space which, not surprisingly, increases the immersiveness of the gaming experience." | |
| "Sound in games operates on a number of levels ... an audio complement to action on screen ... and to create a sense of a real physical space". | |
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"[Players] get sonic information from the full 360 degrees of their surroundings". This is as in real life and as opposed to vision which is 90-120 degrees (talking of quake 2 and quake 3 arena) in-game and slightly more in-life. |
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| "Sound is highly important to players, less for aesthetic reasons than as a carrier of information ... essential information that can be obtained much faster and over a greater distance than if the player were relying upon visual input." | |
| Nacke, L., Grimshaw, M., & Lindley, C. A. (2010). More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game. Interacting with Computers, 22(5), 336–343. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 05/03/2011, 08:13 | |
| 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. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Deleted user 31/07/2009, 16:50 | |
| Nordahl, R., Serafin, S., Böttcher, N., & Gelineck, S. 2006, October 11–12. Physically based sonic interaction synthesis for computer games. Paper presented at Audio Mostly 2006, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard 05/05/2008, 10:41 | |
| Noser, H., & Thalmann, D. (1998). Sensor-based synthetic actors in a tennis game simulation. The Visual Computer, 14, 193–205. |
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| Added by: Mark Grimshaw-Aagaard 02/06/2005, 11:07 | |
| Paul, L. J. (2003). Audio prototyping with pure data. Gamasutra, Retrieved September 15, 2003, from http://www.gamasutra.co ... /20030528/paul_01.shtml |
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| Added by: Mark Grimshaw-Aagaard 17/09/2004, 09:30 | |
| "Like film and television, game-audio contains music, speech and sound effects. But games also require interactivity and real-time effects applied to the audio. When this occurs, game audio moves further away from its roots in linear media." | |
| Paul, L. J. (2007). Video game audio prototyping with pure data. Retrieved June 18, 2008, from http://www.sfu.ca/~leon ... PureData-LPaul-2007.pdf |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 18/06/2008, 11:30 | |
| Primentas, G. (2003). The musical aspects of sound (pitch, dynamics, timbre) as the core element for interaction in sound based computer games. Unpublished thesis master's, The London Institute. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/11/2006, 11:00 | |
| Discussing role of sound in computer games, Primentas uses example of Atari's Pong (the first commercial game with sound). Three roles: "functional, aesthetic, promotional" | |
| Paraphrasing McDonald (2001): the 'death' sound of Pac-Man became the universally accepted "symbol of defeat." | |
| 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. |
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| 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." |