Sound Research WIKINDX

List Resources

Displaying 1 - 5  of 5
Parameters
Order by

Ascending
Descending
 
Display options Hint
Use all checked: 
Use all displayed: 
Use all in list: 
Laurel, B. (1993). Computers as theatre. New York: Addison-Wesley.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 15/05/2008, 10:25
States that the reason early users of CRT displays hit on a game to demonstrate prototype graphics software (MIT 1962 spacewars) was "its capacity to represent action in which humans could participate."  
A good definition of a virtual object:
"..may be one that has no real-world equivalent, but the persuasiveness of its representation allows us to respond to it as if it were real." 		 
"If "natural" sound (as opposed to speech or music) is an aspect of an environment, it must be employed consistently; that is, the causal relationships between sound and other modalities must be preserved. When things fall down (in a world that has sounds), they go "boom.""  
"...we tend to expect that the modalities involved in a representation will have roughly the same "resolution." ... A computer game that incorporates breathtakingly high-resolution, high-speed animation but produces only little beeps seems brain-damaged."  
"...it is well known in the folklore of computer game design that high-quality audio makes people perceive visual displays to have higher resolution."  
"[t]ight linkage between visual, kinaesthetic, and auditory modalities is the key to the sense of immersion that is created by many computer games, simulations and virtual-reality systems"  
Laurel develops Aristotle's four causes (Poetics) and applies them to theatre:

  1. Formal cause. The plot or complete action subsuming form, genre etc.
  2. Material cause. The enactment of a performance: words, sound, props, art etc. Spectacle.
  3. Efficient cause. The skills and tools of all personnel contributing to the play.
  4. End cause. Catharsis. Audience response. The reactions and emotions aroused.
  
Discussing four criteria of characters from Aristotle's Poetics:

  1. Characters must be good in the sense of successfully carrying their function within the play - ability to transfer thought into action.
  2. Characters and their traits must be appropriate to the actions they enact.
  3. Characters must be probably in terms of understood reality. Logical causal connections between thought, characteristic straits and action.
  4. Characters must be consistent. No arbitrary changes.
  
Makes the case that human - computer activities are more akin to drama than narrative:

  1. Between the two, time is different, has a different scale.
  2. Narrative is description, drama is action.
  3. Drama is more cathartic, less episodic, has unity of action.
Nitsche, M., & Thomas, M. 2003, November 4–6. Stepping back: Players as active participators. Paper presented at Level Up.    
Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:57
"Players step into a dramatic position in relation to the fictional world -- defined by the very character they control."  
"Having two heroes battling with certain tasks spread on a virtual stage filled with dramatic elements ... transforms the space between the virtual heroes in Common Tales into a valuable expressive element of the relationship between the two main characters."
Rebelo, P. 2003, Performing space. Unpublished paper presented at Symposium on Systems Research in the Arts: Music, Environmental Design, and the Choreography of Space.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 01/11/2006, 13:34
Paraphrases LeFevbre's definition of space as the inhabitant, being "a full participant, a user, a performer of space"  
Defines sonic profile "as an internalised mapping of a soundscape – an outline describing the superimposition of various sources, events and their sounding in a space, as perceived by the listener"
Shakespeare, W. (1610-1611). The tempest. [Drama].    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 18/01/2016, 15:52
"

Be not afeard. The isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me, that when I waked
I cried to dream again."
State University Center of Creative and Performing Arts. 1968. In C. In {C}. T. Riley (Comp.) Sony. [Vinyl Record] 7178.   
Added by: Mark Grimshaw-Aagaard 17/10/2006, 13:48
WIKINDX 6.18.0 | Total resources: 1586 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: American Psychological Association (APA) | Time Zone: Europe/Copenhagen (+01:00)